Issue 092 - January 2005 - Get Dressed for Success

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JAN 2005 / ISSUE 92

MOBILE BEAT Publisher L.A. Communications Editor-in-Chief Robert A. Lindquist Operations Manager Stephanie Robinson Managing Editor Dan Walsh Advertising Director Iris Fox

TOOLS 14

22 24 26 30 34 38

It's Hot New Products Scoop Uncommon Audio: The Bose Personalized Amplification System Scoop Yamaha BR Series Speakers Scoop Hit the Highway with Phonic's RoadGear 260 System The Illuminated DJ Command Decision: Choosing the Right DMX Controller E-Beat CompuWare 04 Lighting Control Software Digital Business Tools

FEATURES

40

44

Dressing Your Gear for Success How to Make Sure Your Gear Looks Good Looking Your Best: DJ Fashion DJs Debate the Best Attire

TECHNIQUES

46

48

Reality Check Worn Out Welcome: Too Old for Youth Events?

Crowdpleaser Know Your Role: How to Adapt for Greater Event Success

ENTERTAINERS

50

54

DJ All Stars John Marcopulos & George Samiotakis: Greek Wedding Experts Larry Williams: A DJ's Dream Comes True Club View DJ Ruffnek: From Club to Concert Stage

TUNES 56 58 60 62 64 66

Song Story Musical Makeover: A Look at Cover Tunes Music in Motion DJ Jackie Christie Stars in a "Beautiful Day" Set List Remix Report Play Something We Can DRESS To! Music News

EXTRA TRACKS

69 71 76 78 81 82

Valuing Your Vendors ADJA Newsletter Mobile Beat DJ Show Register Now! Showcase Classified Section Advertiser's Index Extraordinary Events

Editorial/Production Manager Christine Wagenblass Art Director Andrew Schmitz Editor-at-Large Anthony Barthel Contributing writers for this issue: Greg Tutwiler • Mark Johnson Fred Sebastian • Jay Maxwell • Ryan Burger Dave Kreiner • Mike Ficher • Chuck Shriver Ron Carpenito • Jim Kerins • Thomas Edison Mobile Beat DJ Shows and Conferences Producer Michael Buonaccorso How to reach Mobile Beat Magazine: For subscriptions, address changes or back issues, contact Mobile Beat by mail at: P.O. Box 309, East Rochester, NY 14445.

Back issues of Mobile Beat can be purchased (subject to availability) for $5 (in Canada: $6, U.S. funds).

Shipping address: 1 Mobile Beat Tower, 1782 Penfield Road, Penfield, NY 14526 Tel: 585-385-9920 Fax: 585-385-3637 E-mail: webmaster@mobilebeat.com Web: www.mobilebeat.com

Mobile Seat Magazine flSSNt 1058-0212) is published seven times per year by LA. Communications Inc., P.O. Box 309, East Rochester, NY 14445.

Ground shipments to: 1782 Penfield Road, Penfield, NY 14526.

Periodical postage paid at East Rochester, N. Y. and additional mailing locations.

Subscription rates - U.S. and possessions: $23 for 1 year, $40 tor 2 years and $55 tor 3 years. Canada: $33 tor 1 year, $50 for 2 years and $75 for 3 years. All other countries: $60 per year. Subscriptions outside the U.S. must be paid in U.S. currency.

Postmaster - Send address changes to Mobile Beat Magazine, P.O. Box 309, East Rochester, NY 14445.

Copyright © 2005 by LA. Communications, Inc. All rights reserved. Reproduction of copy, photography, or artwork prohibited without permission of the publisher.

All advertising material subject to publisher's approval.

Statement of Ownership, Management and Circulation The following information is taken from US Postal Form 3526 filed October 1, 2004 at East Rochester, NY. Mobile Beat Magazinef.lSSN# 1058-02121 is published seven times a year by LA Communications, Inc. The office of publication address is 229 W. Spruce Street, East Rochester, NY 14445. The Publisher is LA Communications, Inc.,1782 Penfield Road, Pentield, NY 14526,RobertA. Lindquist,1782 Penfield Road, Penfield, NY 14526; Michael Buonaccorso, 1782 Penfield Road, Penfield, NY 14526. Subscriptions(US) $23.00 per year.

Circulation information for the Oct/Nov 2004 issue of Mobile Beat Magazine is as follows: Net Press run: 10,103. Total paid and/or requested 9,206. Total free distribution: 334. Copies not distributed :563. Total circulation: 9,540.

Average Circulation per issue for the period Oct. 1,2003 through October 1,2004 is as follows: Average press run: 10,351. Average paid and/or requested circulation: 9,555. Average free distribution: 369. Average copies not distributed: 427. Average circulation: 9,924.

Celebrating 20 Years In The Mix

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TRACK ONE

Look Sharp!

"You're never fully dressed without a smile." So goes the song from the Broadway show, Annie. In this issue's "PSWCDT" column, Jay Maxwell reminds us of this while also sharing a few fun tunes about attire and his experienced perspective on DJ appearance. Certainly the content of your performances must be top-notch and your personality (symbolized by the smile) should be attuned to satisfying your clients' needs. However, your heart of gold won't shine through as clearly as it could if you and your gear come across as "appearance-challenged." So, in this edition of Mobile Beat, we offer a look at how to make yourself and your equipment more presentable and ultimately more profitable.

Along the way, we take a look at what's in vogue, gear-wise. In lighting, we focus on technology for digitally controlling the look of your light show. The Bose Corporation has unveiled a new style in audio, with its Personalized Amplification System . Check out Jim Kerins' review on page 22. Other speaker/PA fashions from Yamaha and Phonic also hit the runway in this issue. Mike Ficher discusses the different guises DJs often have to wear as they adjust to the needs

of different events. We explore fashions in music from a number of perspectives. Mark Johnson touches on the difficulty of keeping current with youth favorites that always seem to be doing a quick change, while "Song Story" covers those "made over" tracks called "cover tunes." Meanwhile, our DJ profiles take us from weddings in traditional garb with a team of Greek wedding experts, to the latest rage as DJ Ruffnek takes to the concert stage with his band, Slapbak.

Whatever your personal style, there's never a wrong time to shine up those dancin' shoes, press out the wrinkles in your groove suit and get ready to put your best foot forward for the sake of the party!

Dan Walsh Managing Editor

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January 2005

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11

FEEDBACK

Perspeciiue-Changing Experience Dear Mobile Beat,

F

irst off, your magazine rocks. I have been a subscriber since about 1996, and I get all of my DJs gift subscriptions.

I have been a DJ since about 1979, when I used to help the radio stations play music for my junior high in Paradise Valley, Arizona. From there, I went on to DJ my older brother's and sister's proms, and my own senior prom in 1984.

I have been a club DJ, beginning in 1985, working for Black Angus, Bobby McGee's, Red Onion, Marriott Hotels...and on and on.

I have been doing mobiles full time since about 1989. I have a five-DJ operation in Northern California, and we do just over 200 events a year. We recently converted our entire company to working exclusively by referral about two years ago very successfully, I might add. I have also taught other DJ companies how to run their business by referral. (Not in my market area, of course.)

I say all this not to impress you but to impress upon you that I've been around this business for a long time and have built a successful company by going above and beyond for my clients and striving to deliver excellence. I LOVE what I do. I am sure that 98% of your readers strive for the same.

(Stick with me here, I promise there's a point to all of this.)

As I said earlier, I LOVE your magazine and even with all of my experience, I am always able to take something beneficial from it to apply in my company. That being said, I've always read the letters from various DJs around the country and have heard them "bellyache" and "bemoan" as to when they (and the DJ industry as a whole) were going to be taken "seriously." I used to just ignore the letters from these "crybabies"...until now. Something has happened that has changed my point of view completely. I felt compelled to write to you and relate my experience.

I can tell you, without a doubt, that it's NOT the general public that doesn't take the DJ industry seriously. It's other DJs. Yep, I said it. OTHER DJs who refuse to conduct themselves in a professional manner. DJs who badmouth other DJs. One of my DJs was recently at her girlfriend's wedding, when she began talking to the DJ who was working that particular wedding.

During casual conversation with this other DJ, she relayed to him who she worked for. Immediately upon hearing this, the other DJ began to badmouth me and my company, going on about how I was "ruining the industry" with my pricing structure, and went so far as to offer her a job working for a "real DJ company" and so on and so forth.

Of course, my DJ called me right away and related this turn of events to me. I was in shock. I mean, I was totally blown away. Never, and I mean NEVER in my 20+ years of being a professional DJ have I ever encountered anything like this. I have NEVER met this individual, nor heard of him, nor read about him, nor seen him, nor knew he existed...nor has this person EVER seen me, talked to me, or met me.

Yet he took it upon himself to badmouth me to one of my DJs and God

www.mobilebeat.com

January 2005

knows who else. What does one say to that? How should one react?

Let it go? Respond?

I was so bothered by this especially since this other person knew nothing about me that I placed a phone call to this other DJ. I was even more amazed on the phone by his attitude. He saw this as his "right to have his own opinion". True, I conceded. But it became slander when he started expressing his opinion to others.

Now, there may be other DJs in my area, or in the world for that matter, that I may not agree with or even like. Fine. So be it. I do my thing and they do theirs. One thing I DON'T EVER DO is badmouth them to anyone else, let alone to someone who works for them!

I expressed to this other DJ that maybe he and his clients would be better served by him focusing his energies on providing better service(s) and value instead of spending his time and energy "hating" and badmouthing me. We exchanged several heated e-mails until I finally told him to just worry about himself in no uncertain terms. About a month later, I received an anonymous e-mail from someone stating that this individual was STILL badmouthing me to other DJ companies and to basically anyone who would listen.

This is truly sad. Never in my life have I ever had to deal with something like this. It's a sad state of affairs when another DJ (who isn't even really in your market area) has to resort to badmouthing someone he doesn't even know. I warned this person to cease and desist immediately and that the next contact he would have in regards to the matter would be from my attorney.

We charge our clients a fair and reasonable rate for our services.

We're not the most expensive, nor are we the cheapest. We're about value and always striving to give our clients more than what they paid for.

I am not (nor will ever be) one of the DJs who jumps on this "all DJs should charge the same" bandwagon...If another DJ company wants to charge more or less than I do, fine. I could care less. This is what gives the client variety and more importantly, choice.

This incident has just about destroyed my faith in what I do. I've had my struggles over the years with this business had my share of macaroni and cheese but nothing has prepared me for this.

If you are to publish this letter, please try to publish it in its entirety so as to let the other DJs who work hard to support their families and want some respect know that I hear them, and finally, I completely agree.

Sincerely, Keith Foxâ&#x20AC;&#x201D;a professional DJ

www.FoxDJs.com

"

"-""'

JT

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DJ Tech with Your Morning Coffee

DOUG COX TO KEYNOTE MOBILE BEAT 2005 SHOW Popular inspirational speaker Doug Cox,

Anyone who opened to the New York Times Technology section on September 23, 2004 was treated to an update on the state of DJ technology. In his article "With a Nod to Vinyl, CDs Take Over the Turntable" author Michael Gwertzman chose to focus on digital technology's slow but steady infiltration of the scratch and club DJ realms. While mobile disc jockeys have relied on CDs for awhile now, apparently their use by big name, touring DJs has become news: "After more than 20 years of turntable dominance, the DJ's steadfast allegiance to vinyl appears to be slipping, if not altogether severed."

Mentioned in the article were the updated version of the first truly turntablelike CD player ("digital turntable"), Pioneer's CDJ-1000Mk2, along with the newer Denon DN-S5000, Numark CDX, and the latest entry, the Technics SLDZ1200. To access the full article online, go to www.mobilebeat.com.]

a favorite with past attendees, will return

The Reel Thing

to the Mobile Beat DJ Show. On Tuesday, February 22, he'll be kicking off the 2005 Las Vegas event at the Stardust Hotel with a new presentation for the

DOUG COX

new millennium: "Secrets of the Dreamcatcher." Tying together cutting-edge thinking with ancient wisdom, Doug has created a way of pursuing and capturing your dreams and goals, with practical methods to turn your life and career toward power, prosperity, peace and joy!

You can find the entire show schedule at www.mobilebeat.com.

The Reel Girlz Real Skillz DVD from the Hitgirl! collective of female DJs has been shaking things up in the world of DJ instructional video. It features the first-ever all-female cast in a DJ "how-to" release. According to the producers, "It not only takes DJing into the digital age by showing the user how to mix with software programs like Final Scratch...it covers all the basics, including: equipment, mixing, making the best of your transitions, scratching and more!"

The video provides insight into the differences between house and hiphop mixing, providing plenty of practical pointers. Of special interest to anyone interested in the challenges faced by female DJs is a "hilarious and socially conscious" interview section, including: "Embarrassing Moments," "Horror Stories," "Gear to Get" and "Advice." Go to www.thedju.com for more info.

FIRST AFRICAN-AMERICAN STATION CELEBRATES 56 YEARS For more than 50 years, WDIA Radio has been known in its hometown of Memphis as the "star maker station," the "goodwill station," the "community's station," and, of course, the "jammin' station." In this regard, not much has changed. Six years older than the birth of rock and roll (first hitting the airwaves on June 7, 1947), the nation's first allblack formatted station remains focused on service to the community and quality programming.

"The station works because of the legacy that was laid down for us from the very beginning," said James Davis, director of community service and archives. Davis also said there are a huge number of loyal listeners who still live in the area and remember WDIA as a beacon for

10

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January 2005

African Americans, especially for programming and opportunities.

One such aspiring talent was blues legend B.B. King, who started working at WDIA in the early 1950s. "B.B. was hired to write jingles," recalls Davis. "He also did his own show where he played his original music and hosted the 'Sepia Swing Club,' featuring recordings of local and national artists." Other up-andcoming entertainers who worked at the station during its early years included blues singer Bobby "Blue" Bland and Rufus "Funky Chicken" Thomas, who continued as a disc jockey on Saturdays until his death in 2001 at the age of 84.

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Don't Get Scammed!

Below is one DJ's firsthand report of a recent brush he had with the techno-savvy criminal element. If you haven't already heard...watch out!-Ed. I received a phone call on Sept. 26, 2004 from an IT relay operator who said there was a person trying to contact me using text messaging. He was in Holland and wanted information about my wedding services. He claimed that he was planning a wedding, but was in Holland on business, and asked if I could book with him via a phone conversation. After a lengthy phone relay with the IT operator, I told the client to send me a deposit check for $300 with all his information like name, address, phone and wedding location.

On October 12, 2004, I received a cashier's check in the amount of $3,000 drawn on a credit union in Dallas (which arrived in a plain brown envelope with no return address and airmail postage). I called the credit union and found out that this check was a fraud. The check number and the amount were different from anything the bank had on record.

October 13, I again received a call from the client via an IT relay operator. He asked me if I received his check and if I could send the difference between the deposit and the sent amount ($2,700) to his sister in Norway via Western Union, supposedly so she could make florist plans for the wedding.

He wanted me to go immediately to Western Union and wire the money.

If I had done this, I would have later found out that the cashier's check sent to me was no good. He would have gotten $2,700 of mine and I would have had no way of finding him. I reported this situation to the Secret Service on their Web site at www.secretservice.gov. Apparently this has become a common way for thieves to steal money. This has also happened to people on eBay and is now creeping into other areas.

I suggest you tell every DJ you know to be careful about someone who wants to book via IT relay telephone and then sends you a check for more money than you've asked for.

Another recent scam involves an e-mail going around, where the customer wants to hire your services but can't give his name or other information due to security reasons.

Please be careful.

Marc Weinstock Party Nation, Pembroke Pines, FL

DJ Cruise Changes Course DJ CruiseÂŽ, presented by ProDJ.com, is has announced the first in a new series of cruises starting in November 2005. Ryan Burger, president of ProDJ.com has teamed up with Paul Beardmore, the creator of the original DJ Cruise, to work up a new series of opportunities for DJs to network with their peers in the unique environment of a cruise ship.

"We have taken the format that the DJ Cruise has had for the last five years and shortened it a bit for the 2005 cruise, while still maintaining the class of a full-fledged event," Beardmore said. "While the past DJ Cruises were sevennight/eight-day events, the 2005 cruise has been pulled down to a five-night/six-day cruise, scheduled so that DJs don't need to miss 2 potential event weekends."

The Carnival Ship Imagination will be the host ship. It boasts excellent staterooms, fine and casual dining options, 24-hourstateroom service, cruise activities and entertainment, special shipboard events, and the Camp Carnival children's program. For more details on this cruise and other DJ Cruise events, go to www.djcruise.com.

Start Them Off Right with Real Gear Kidz Gear, the "Grown-up Performance, Built For Kids!" brand, has released the first adult-featured stereo headphones made especially for children Kidz Gear Headphones

12

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January 2005

for Kids. Headphones for Kids are made with the same components found in many adult headphones available from top consumer electronics manufacturers. Headphones for Kids provides children with stereo sound quality normally found only in adult headphone products. Unique safety and comfort features include independent volume controls, child-friendly ergonomic design with soft padded childsize ear-cups that deliver the same listening experience as their adult counterparts, but at a fraction of the cost.

"I had been looking everywhere for something less expensive than my husband's headphones for the children to use in the car and on the plane to listen to their CDs and watch their DVDs," says G. Pecora, a mother of two from Bend, Oregon.

"I didn't want another toy headphone that would only end up in the trash within days. With Kidz Gear, I know I am getting the quality and price I want with the comfort and style the kids love - I even bought one for myself!"

Kidz Gear products are not typical "toys," but adult products built for kids. The products are designed by founder and mother Laurie Peterson to solve the never-ending battle between a child's desire for his or her parent's things headphones, binoculars, walkie-talkies and the parent's fear of them destroying expensive products. Check out www. gearforkidz.com for more information.

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NEW PRODUCTS

FESTIVE ESSENTIALS American DJ keeps the party going straight through the holidays with the introduction of two new all-in-one lighting packages, the Festive Light Pak and the Essential Light Pak. Each of these instant light shows offers three plug-and-play American DJ effects. The Festive Light Pak includes the ColorBall, the S25 Strobe and the Multi-Flower, a multi-color moonflower effect. Each piece was chosen to complement the other fixtures in the package to create a stunning out-of-the-box light show. The Essential Light Pak consists of the Multi-Flower, Color Splash and Beamer effects. The Color Splash projects light through beveled glass to create a retro-style flowing-water effect, while the Beamer generates a shower of dozens of U-shaped colored beams.

MSRPs: Festive Light Pak - $149.95; Essential Light Pak - $399.95 American DJ • 4295 Charter St. • Los Angeles, CA 90058 Tel: 323-582-2650 / 800-322-6337 • Fax: 323-582-2610 • www.americandj.com

THE LEGEND BROWS The latest in the Legend Series from CHAUVET, the Legend'" 250 Zoom is a 16channel intelligent, moving light that can layer multiple gobos, colors, and other effects.

Features include: linear motorized zoom, variable iris, variable strobe, motorized focus, mechanical dimming, 8-bit or 16-bit resolution, automatic pan/tilt correction, independent frost, micro-stepping motors, coated optics, two color wheels, one effect wheel and two gobo wheels. Movement range is 540' pan by 280° tilt. Optical encoders at the base of the head automatically correct the fixture's position as necessary. Each color wheels features five colors plus white. On-board programming eliminates the need for a console, when simple lighting is all you need. A 3,000-hour MSD250W lamp is standard.

CHAUVET • 3000 N. 29th Ct. • Hollywood, FL 33020 Tel: 954-929-1115 / 800-762-1084 • Fax: 954-929-5560 • www.chauvetlighting.com

PACKING DIGITAL BEAR New for digital performers from VJGear.com is the PCMix-1, a tabletop or standmounted hardware/software system designed to help you quickly set up and perform.

It includes a rackmounted trackball and keyboard, DMC software controller, and a 7" VGA touchscreen monitor. VJGear.com pre-installs and tests the software you request.

The base computer system includes: a Pentium 4 3.0 GHz processor; 512 MB of DDR RAM; a 200 GB hard drive; an EgoSys Waveterminal sound card; the Windows XP Professional operating system; and PCDJ Red or VirtualDJ Software preloaded.

MSRP: $2,995 VJGear.com • 7821 Gladys Ave. • Beaumont, TX 77706 Tel: 866-985-5483 • www.vjgear.com

THREE EYES ON THE ACTION Marshall Electronics, a leading manufacturer of rack-mounted LCD monitors, has introduced their first VJ product, the VJ-563P Monitoring System. The VJ-563P features three high-resolution 5.6" LCD panels, and is designed especially for club and mobile video applications. With a small footprint (three rack spaces high and less than 2" deep) the VJ-563P is ideal for use where space is a limitation. Each video screen has two composite inputs with active "loop-thru." A user-friendly front panel design provides instant access to six video sources on three screens. MSRP: $1,295 Marshall Electronics, Inc. • 1910 E. Maple Ave. • El Segundo, CA 90245 Tel: 310-333-0606 • Fax: 310-333-0688 • www.vjracks.com

14

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January 2005

77-ie First Digital DJ 1

in

DJ software - Karaoke - Turntable Interface - Music Production - DAC-2 Controller Pro-soundcards - Rackmount PCs - Performance PCs - Digital Mixers Laptop Cases - Speakers - Digital Music Distribution DJ Accessories - Full Customer Support - Serving the DJ community since 1999 Visiosonic Ltd. 1881a Drew Street, Clearwater FL. 33765.

Toll Free 1-866-999-7235 - Tel: 727-799-3828 - Fax 727-799-2747

NEW PRODUCTS

A GRAPHIC DISPLAY The new GEQ-256 from Gem Sound is a rack-mountable stereo graphic equalizer and spec­ trum analyzer with multiple display modes. With its illuminated faders and large display, the GEQ-256 makes it easy to adjust EQ for optimal sound, while it visually livens up any equipment rack. For separate channel control, the GEQ-256 features two banks of 10 faders. Frequency bands range from 30Hz to 16kHz with up to ±12dB of boost or cut per band. There are two stereo RCAIine inputs, a stereo record input, and a mute button. In addition to EQ controls, the GEQ-256 also boasts a 10-band spectrum analyzer with a brilliant blue graphic display. Besides being visually stimulating, the display can provide "ticker tape" readings of input changes, EQ status, peak values, and other info. MSRP: $159.95 Gem Sound • 600 E. 156"1 St. • Bronx, NY 10455 Tel: 718-292-5972 • Fax: 718-292-7976 • www.gemsound.com

DEMON CHALLENGES You TD A DUAL Denon DJ has expanded its line of DJ tools with the introduction of the rack-mountable DN-D6000 Professional Dual CD/MP3 Player, appropriate for mobiles, club DJs and other working DJs. MP3 playback mode includes: seamless looping with B Point Trim, scratching, hot starts and MP3 effects; CBR and VBR (constant or variable bit rate) encoding up to 320 kbps; IDS tags (files embedded into the MP3 that display title, artist and album); and MP3 File Search System (offering fast and easy file location by name). The DN-D6000 includes Denon's new Next Track Reserve function, an industry first. This lets you store hundreds of MP3s on one disc and play them back-to-back, with smooth crossfades. The unit includes seven on-board effects: Scratch, Reverse, Brake, Filter, Flanger, Echo and the innovative Echo Loop. Check out Denon's Web site for details on a lot more features. MSRP: $1,099 Denon DJ • 1100 Maplewood Dr. • Itasca, IL 60143 Tel: 630-741-0330 / 866-405-2154 • www.denondj.com

www.VJRacksTcom 16

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January 2005

Marshall Electronics

NEW PRODUCTS

RIDE THE BLACK STEEL WHEELS Gemini has added the TT-01 and TT-02 to its stable of turntables. These fully manual turntables, belt-drive and direct-drive respectively, debut a sleek new black design. The new TT Series comes equipped with a special Straight Tone-Arm system, providing superior tracking and virtually skip-free performance. An updated, heavyweight aluminum platter, equipped with attractive finger grooves on the outer edge, adds functionality for pitch manipulation. Sliders can vary the pitch to +10%. These turntables also come equipped with a special RCA port where you can plug in an easily replaceable target light.

Other features include standard backlit LED buttons, a conveniently embedded on/off switch and an updated slipmat design. MSRPs: TT-01 - $169.95; TT-02 - $269.95 Gemini Sound • 120 Clover PI. • Edison, NJ 08837 Tel: 732-738-9003 • Fax: 732-738-9006 • www.geminidj.com

DISCOVERING SOMETHING DYNAMIC Wharfedale Pro has produced its first dynamic microphone—the DM2.0. It is a hand­ held dynamic microphone, featuring a super-cardioid pattern that minimizes feedback and effectively rejects signals not originating in front of the mic capsule. The mic is designed for high SPL levels and boasts an extended frequency range and crisp, clear sound.

Special shock protection isolates the microphone element to greatly reduce handling noise, while the well-balanced zinc-alloy die-cast body ensures reliable performance.

Other features include a dent-resistant spring-steel grille, an on/off switch, and a goldplated XLR connector. The DM2.0 comes in a three-pack, with a padded case.

Wharfedale Pro US • 15 Walpole Park S. • Walpole, MA 02081 Tel: 713-589-3322 • Fax: 713-589-3398 • www.wharfedalepro.com

18

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January 2005

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NEW CRATES UNVEILED Designed for DJs and other live music applications Crate Audio's new PSM Series Speaker Enclosures promise fidelity, high power handling, and professional features.

All the PSM Series cabinets feature a heavy duty, dual-vented, cast-frame woofer and a 1.5" titanium HF driver in a molded highimpact polymer cabinet. They are available in 10" (PSM10), 12" (PSM12), and 15" (PSM15) versions. All three models feature an internal electronic crossover and a Darlington-style, semi-active HF protection circuit to ensure maximum efficiency and clarity. Frequency response is 45Hz to 20kHz. Peak power handling ranges from 800 to 1200 watts. A subwoofer (PSM15S) is also available. MSRPs: PSM10 - 329.99; PSM12 - $399.99; PSM15 - $449.99; PSM15S - $499.99 Crate Audio (St. Louis Music, Inc.) • 1400 Ferguson Ave. • St. Louis, MO 63133 Tel: 314-727-4512 / 800-727-4512 • Fax: 314-727-8929 • www.crateaudio.com

LIVE DJ

WITH A COOL TRAILER

OUR ELECTRONICS CONNECTION

20

www.mobilebeat.com

January 2005

B-52 PROFESSIONAL + 1-800-344-43*4 + www.B-52PRO.coni + Sales@B-52PRO.toa

THE NtXf GENERATION

SCOOP

This isn't your father's carpet-covered box...

By

Jammin'

Jim

Kerins

T

he Bose Corporation has long been a leader in building innovative audio prod­ ucts. How else can you explain a com­ pany successfully selling Wave® radios for $349, when you can buy a regular radio at the Mega-Mart for $19? Brilliant audio, ease-of-use and quality are the reasons why their products enjoy such a great reputation. Bose loudspeakers, signal processors and amplifiers have been at the fore­ front of high-fidelity audio, housed in efficient, light­ weight packages. Although the Personalized Ampli­ fication System is designed primarily for live sound reproduction, its versatile design makes it useful for a myriad of sound reinforcement applications, including DJ and karaoke work. Like many DJs, I often pick up extra income by providing sound sys­ tems for wedding ceremonies and corporate events.

I also generate a good chunk of income from a live children's show, which, as you'll see later, provided a great test of the system. Bose claims they have come up with a radical new approach to audio reproduction that could potentially lead to a para­ digm shift in the way that live, and recorded music is electronically delivered. With that kind of hype, I couldn't wait to fire-up the "magic system."

First, let's review a typical PA speaker sys­ tem. A traditional speaker has a 12" or 15" woofer to cover the low and middle frequencies and a horn is used to deliver the high. This has been the basic speaker configuration for decades. Potential problems of this configuration include mismatched phase alignment of the two components, and the radically different ways that a woofer and a horn driver proj­ ect their respective frequencies. Often at distances and at certain room angles the sound will change dramatically because of this anomaly. Looking at the whole system, other difficulties arise. Almost any amplifier can power most passive (non-powered) speakers. For ex­ ample, a speaker rated at 500 watts sounds very different when a 100-watt amp powers it than when a 500-watt amp is used. If an external crossover is used, that's another potential source of user error, if the user doesn't use the correct settings to send the right frequencies to the speakers.

22

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January 2005

the Personalized Amplification System from Bose is a brilliant mix of audio art and science The Team Functions Like a Well-Oiled Machine Bose started with a clean slate and radical new thinking to build the Personalized Am­ plification System. They designed it as an integrated whole, rather than a hodgepodge of components. The first member of the team is the LS1 Power Stand. This is unlike any mixer/amplifier you have ever seen.

Providing support for the system's speaker tower, it looks a lot like the weighted base of a portable basketball hoop. Instead of being filled with water or sand, it is jam-packed with high-tech electronics. For starters, it has a four-channel mixer, two channels featur­ ing balanced XLR inputs. To get the most out of the inputs, the unit features selectable presets that provide frequency adjustments for certain microphones and instruments.

The deceptively simple-looking set of con­ nection jacks includes many ways to utilize the system, including line-ins/outs, inserts for adding extra processors, a crossedover bass output, and data in/out jacks.

This piece isn't called the Power Stand for nothing, as it includes three internal am­ plifiers. They can power the speaker tower and two Bose subwoofers, or you can also use them as three separate amplifiers to power whatever you want. Now that's some very creative thinking. Since the mixer is at ground level, Bose has included a cabled remote control to facilitate mixer manipula­ tion. This slick, palm-sized device provides volume and frequency control of the two main channels. It includes signal and over­ load lights.

The Cylindrical Radiator Loudspeaker is radically different from all other speakers.

When attached to the Power Stand, it looks like a six-foot, space-age speaker pole. A far cry from the carpet-covered wooden

box concept, it is made from a lightweight metal. It lands way up on the "look at me, I'm cool" scale. Instead of being loaded with the traditional horn, and woofer com­ bination, it is packed with 24 separate speaker drivers—again, a completely new approach. Bose claims that this design has a flat frequency response and a wide, 180° dispersion pattern, which is intended to eliminate the frequency cancellation problems that result when high frequen­ cies bounce off the ceiling. As a bonus, the speaker and the Power Stand come with fashionable, logo-emblazoned travel bags.

My system also came with two 30pound B1 Bass Modules, which are so small, it seems almost impossible that they could produce low-end sound. However, if you've ever heard a Wave radio, you know that big boom can come in very small packages. These are great-looking little sub-woofers, and just add to the classiness of this innovative system. The Power Stand supplies the B1s with plenty of dedicated low-end power.

The full system, when broken down (a feat accomplished in minutes), is remark­ ably small in size and weight. Who needs a minivan when you could practically put this system on the back of your motorcycle?

tem. With some dance tracks in my CD play­ er, I cranked it up. Even when very loud, the system delivered full-range, hi-fidelity sound.

The small bass modules, although not chestslamming, produced a very musical bass that was amazingly deep for their size. They might not be able to fill a gymnasium, but they should work fine at most small to mediumsized gigs. After sampling a variety of music was held outside, at a tourist railroad station styles, it appeared that certain elements that was hosting a popular children's televi­ seemed to stand out, mainly vocals and sion show character appearance. You know guitars. When compared to other systems the one—it's narrated by George Carlin, and offering a bigger, yet lower-fidelity sound, the Ringo Star. (If you don't know now, as soon Personalized Amplification System offered as you have a two-year-old, you will.) The very realistic reproduction, albeit with less of show was taking place outside, all day long, that bone-rattling nightclub sound. It's kind of in front of hundreds of people, and I was a bit like this: How do you like to go fast—in a big concerned about being able to cover a large rude Dodge Viper, or in a Porsche Carrera? I courtyard area. My fears were laid to rest kinda like the Porsche, myself. when every hour on the hour my songs about fire safety and stranger danger lured dozens Road Test 1: The Singing Cylinder of kids away from such stiff competition as I took the Bose system out for a spin on two The Magician, Flowers the Clown and even completely different shows. The first was a the formidable Sir Topum Hat. (Of course this DJ/karaoke night. Once I was set up in "Joe's was also partially due to my irresistible bubble Bar" (the name has been changed to protect machine.) the identity of the womanizers and "social All day long this slick little system drinkers" who frequent this fine establish­ sounded great. I received many unsolicited ment), my regulars were full of questions, comments on how well the system sounded, immediately intrigued by the system's unique even at a distance. With the speaker set up look. Throughout the night, many singers directly behind me, it was a pleasure to easily offered unsolicited comments on how well and accurately hear myself all day long. When they sounded through the cylindrical speaker. I went into the crowd to teach the perennially Alien Technology in My Basement Before I brought this rig to a gig, I put it I didn't have the heart to tell them that they popular Chicken Dance, the CD track sounded weren't really that good. through its paces in the lab, a.k.a., the crisp and full. I also had to make announce­ When I cranked up my DJ dance mix basement. Setting up the system was quick ments to hundreds of people spread out in the and as easy as locking the speaker "sticks" and cruised around the room, I was im­ great outdoors. Because of the wide coverage pressed with the ability of this single speaker and great vocal reproduction, everyone was into the base and connecting the two mini stick—I mean "cylindrical radiator"—to uni­ bass bins. I plugged my DJ mixer's output well informed and entertained. formly fill a room with sound. I also appreci­ into the Power Stand, along with a mic. I After you consider all of the possible ap­ ated its ability to resist feedback when I had was ready to rock. When I stood back to plications of this versatile system, as well as look at the complete setup, it appeared that to squeak the last bit of gain out of the mic for its high-quality construction, super-portability, some mouse-voiced karaoke singers.

I forgot something, but I hadn't. and its point of origin at one of the elite US au­ At load-out time, it was amazing how The first thing I did was speak into the dio manufacturers, it's tough to spot a down­ easy it was to pack it all up. Did I mention that side. One, perhaps, is that you would need mic. This revealed super-accurate vocal reproduction. I found that you can crank the you don't need any speaker stands? All in all, two Power Stand setups to achieve stereo the Bose was a success on karaoke night. mic way up before hearing a hint of feed­ sound, but that's your choice. But don't just back. When feedback did occur, it was not take my word for it; you can hear the Person­ Road Test 2: Jammin' Jim's Kids' Show of the shrill, "run for the exits" variety. This alized Amplification System at a music megaMy hour-long family entertainment show was chain store near you. Until next time, jam on. built-in feedback suppression will come in handy when it's time for the soft-spoken a great test for the Personalized Amplification E-mail Jammin' Jim atjkerins@rochester.rr.com with Best Man's toast.

System, as I play acoustic guitar and sing comments or questions and your two-year-old's The frequency presets on the first two with CD background tracks to throngs of wild favorite songs. channels really helped in tweaking the sys­ two- to eight-year-olds. This particular event

www.mobilebeat.com

January 2005

23

SCOOP

BReaking the Sound Barrier Without BReaking Your Back The longer you're involved in mobile entertainment, the more you come to appreciate that, after By

Greg

O

quality,

Tutwiler

ver the past twenty-five-plus years, Yamaha has been busy establishing a strong brand presence in the pro audio arena. Their powered mixers, amplifiers, keyboards, and speakers have become prime choices for performers. Recently, as I set out to add a new pair of speakers to my rig, it was a natural for me to check out the latest speakers from Yamaha.

A Look at the Line As a typical PA shopper, I wanted it all: high performance, low weight for easy transportation and lifting, serious affordability, and the toughness to take a beating. On the surface, Yamaha's BR Series Loudspeakers had all the points covered...but could they perform? There are five models to choose from, all developed for mobile and permanent applications, and designed for high performance and complete system flexibility.

The speakers have been engineered with a balance of easy-to-handle cabinet sizes and great low-frequency response that utilizes bass reflex technology. The series includes 10" (BR10), 12" (BR12) and 15" (BR15) two-way enclosures, plus 12" (BR12M) and 15" (BR15M) floor monitors. Although the "BR" labels the speakers according to their Bass Reflex technology, the series offers a full frequency response and high output designed to emulate more costly systems. The high-frequency response of the speakers has been enhanced with the addition of new titanium drivers and 90° x 40° non-resonant horns.

Integrated protection circuitry built into the passive crossover ensures a long life with high output and minimal distortion. Power handling is rated at maximums of 400W to 800W, depending on which model you choose.

BR Series speakers are constructed using advanced

24

is a

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January 2005

computer-controlled woodworking. The cabinets have carpeted exterior finishes with heavy-gauge, full-face, perforated steel grilles; steel corner protectors; large metal handles; and steel input panels with dual 1/4" connectors. In addition, all the cabinets (including monitors) have built-in pole mounting sockets.

Dependable Performance My choice was the BR15s, since they were closest in size and power to the speakers I was replacing. I road tested the speakers at several different types of events and was quite pleasantly surprised at their consistently pristine sound and efficiency. In virtually every room and in every performance scenario I had to back off the master gain to equal the coverage I got with my old boxes. This extra headroom was explained by the fact that I could now run the EQ virtually flat, as the BRs required very little bass and treble compensation.

Because the real test is how the paying public reacts, I loaned them out to a local KJ for use with his crowd at a karaoke club. Throughout the night, the singers commented on how much better everything (the backgrounds and the vocals) sounded. And to top it all off, at less than 47 pounds, they were two-thirds the weight of my old speakers. That was a huge help when hoisting them up on tripods three nights a week.

Along with the excellent sound and portability, you sure can't beat the price. The two-way enclosures list as follows: BR10 - $249; BR12 - $279; and BR15 - $329. The BR12M and BR15M floor monitors carry MSRPs of $299 and $339 respectively.

For more information on the BR Series Loudspeakers, contact Yamaha Corporation of America, Pro Audio & Combo Division, at 714-522-9011, or infostation@yamaha.com, or visit www.yamaha.com/proaudio..

L_ L

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a^ÂŁ^f/Jf 260

By

R.A.

Lindquist

Phonic's RoadGear 260 Integrated Mobile Music Sound System is in, up, down, and out in a flash, has great sound and is perfect for karaoke, PA and small to medium DJ gigs.

PHoKllC

A

s it's far better to bring to the show more punch and power than is needed, our typical mobile sound systems are designed around the larger, more demanding gigs. As a result, too often, we end up packing nonsensically heavier firepower than what is needed to get the job done.

When this happens, it's extra wear and tear on our gear, ourselves and our time schedules. If you find yourself typically bringing an overkill system when something smaller and lighter will yield the same paycheck, then here's a system worthy of your consideration: The RoadGear 260 from Phonic.

Potent package

Integrated Mobile Music Sound Systems are those PA products that pack amplification, a mixer, and speakers in a self-contained package. At 70 pounds, the RoadGear 260 makes for a fairly hefty suitcase so dual polyurethane wheels have been provided to ease the load. We merrily rolled the 260 over a variety of surfaces and found it to be quite stable on hard surfaces such as tile, concrete and hardwood floors. Conversely, as the design dictates that the wheels be fairly close together, it's a bit top-heavy and tipsy on thick carpeting or uneven pavement. You'll want to hand-truck it over the rough stuff, at least to the venue entrance. The top handle is large and well placed for easy towing. Strong side grips provide hand-holds for loading the unit in and out of back seats, vans, trunks or truck beds.

At first glance, the RoadGear 260's three-module design and black molded plastic case brings to mind the popular Fender Passport

26

www.mobilebeat.com

January 2005

250, but the closer you look, the more the similarities fade. For one thing, the RoadGear 260 is taller, by about 8", and narrower, by almost 9". The reason for this is that Phonic has elected to stack the two speakers on top of the mixer/amp module. Compare this to the Fender approach whereby the mixer/amp module is sandwiched between the two speaker cabinets.

The upside to the Phonic design is two-fold. First, in transport, the mixer/amp section becomes a sturdy base, which supports the weight of the speakers and allows for the wheels. Second, there's more real estate available on the mixer faceplate so things can be larger and a bit more spread out. The downside is, it has left the back of the mixer (the bottom when assembled) including the AC power connection, open to the elements. In places like here-in the cold, damp, snowy north-extra care should be taken to avoid inadvertently setting the unit in standing water or on slush or snow. There's also a handy storage bin for microphones and cables on the back. During our wheel-in/wheel-out testing over carpet, we found the bin would open accidentally if the latch scraped the carpet, which is not a major concern, but worth noting. As it's recommended that the bin door be open during operation (as it houses the fan exhaust) possibly Phonic will look at designing a panel that would protect the entire bottom of the unit during transport and remove to allow the fan to breathe while in use.

Re-designed

t.

Gemini is now in its 30th year and during that time we have been the most used equipment for DJ's, period.

I

From 1974 when Gemini began, DJ's across the globe have been using our equipment 24/7. Whether you are trying to be the next superstar dj or just entertaining the party, Gemini's presence has been solid from day 1.

How has this been done?.....simple, by listening to what DJ's want and offering them product at a price that's affordable.

This year Gemini will release over 50 new products for the DJ from CD players and Mixers right through to ABS speakers and Wireless Mic systems.

|

qemim

Be part of a proven record and stock up on Gemini today.

|0 OEtviiNioj COM

Tel: 732 738 9003

Tel: 087 087 00880

Tel: 93 436 37 00

Tel: 01 59799770

5S

Tel:08131 391710

Lock and Load

Beyond that "unprotected-bottom thing," there's virtually nothing about the RoadGear 260 that's not to like. One of the coolest little details will catch your eye as soon as you proceed to disassemble the unit. Each of the three latches that hold the speakers to each other and to the base come with combination locks. While these are primarily intended to keep honest people honest, they offer a bit of insurance that the unit is not going to come apart accidentally during wheel in.

To release the speakers from the base simply unlatch all three latches. The speakers are relatively light and well balanced for easy stand mounting. Two 30' cables with 1/4" TS plugs are provided to connect the speakers to the amp/mixer unit.

You have the option of running both speakers, in mono, off one channel (4 ohms) or connecting one speaker to each channel (l/r) for stereo. If you're using the unit for a karaoke event, the first option allows you to use the included speakers for a mono system, while using the second channel to drive a stage monitor for your singers.

Now just hook up your mics and music sources and you're ready to go. You've got six inputs to work with. Four are mic or line with phantom power on the mics.

The last two inputs have RCA connectors for use with your dual-CD player, a laptop computer or other stereo source. There are also two sets of 1/4" jacks (l/r) that sum mono.

If your payroll includes a few weekend warriors who still remain stymied by technology, you'll have a special appreciation for the simplicity of the RG 260's mixer section. The layout is logical and very well labeled. Cone shaped knobs provide plenty of space to work without crowding your fingers. There's a level control for each channel along with two bands of EQ, and EFX control and stereo pan. A peak indicator flashes when a channel is being over driven. On the master section, there are 3-bands of EQ, L/R Master Level controls and 2 indicators that flash to alert you to turn it down when the built-in limiter kicks in.

To cover the crowd, there's a total of 260 watts (130 per channel) at 8 ohms. A somewhat scaled-down four-channel version is available with 160 watts (see sidebar).

Each speaker is a two-way system with a full 8" woofer and compression tweeter for sparkling highs and surprisingly tight, well-defined bass. Additional ins/outs are provided for connecting a subwoofer (with external amp) or outboard effects. On that topic, the RoadGear 260 comes to your door with 16 high-definition digital effects including some very useful echo, reverb, hall and flanging effects.

RoadGear 160

• MSRP $699.99 • Dual speaker system with 1" compression tweeters and 8" woofers • 4-channel powered mixer • 160 watts (80 watts per channel) • 2-band EQ on each input channel • 3 XLR mic inputs with phantom power • 1 stereo input channel and 1 stereo aux return • Speaker output with send and return • High-definition digital effect processor with 4 programs • 3-band system equalizer • 1 cardioid dynamic microphone with cable • Two 20-foot speaker cables • Storage compartments for microphones, cables and accessories • Optional external battery and wireless mic RoadGear 260

To The Show

• MSRP $849.99

The RoadGear 260 has the power and punch to easily handle small to medium DJ gigs. Depending on the area you need to cover, you may want to add a powered sub and use the included speakers as satellites. For the KJ who wants to streamline set­ up/tear-down while offering a totally pro presentation with great sound, the RoadGear 260 is perfect. It can easily be set up in five minutes or less, and the built-in effects offer plenty of options to get just the right sound for any room. It also has ample mic inputs. The cardioid dynamic microphone that comes with the unit is more than adequate for even professional singers. If you prefer to run without cords, there are two rear-panel wireless microphone inputs for use with your existing wireless sys'tems.

The laws of physics dictate just how much power and mass you can pack into a single unit, while still making it manageable by one person and Phonic has indeed found that thin line. The RoadGear 260 puts all the emphasis right where it needs to be; on power, portability, ease-of-use and excellent sound. For more information, visit www.phonic.com. •

• Dual speaker system with 1" compression driver and 8" woofer • Six channel powered mixer: four mic/line, two stereo • 260 watts (130 per channel) • High-definition digital effect processor with 16 programs • 2-band EQ on each input channel • 3-band system equalizer • Two dynamic microphones (with mic clips, cables and individual pouches) • Two 30-foot speaker cables • Operates on AC or DC power • Storage compartments for microphones, cables and accessories • Optional external battery and wireless mic

28

www.mobilebeat.com

January 2005

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THE ILLUMINATED DJ

Take Control of the Situation Here's a concise breakdown of your DMX lighting control choices Hardware DMX controllers can be divided into three sub-categories: socalled "easy" controllers, conventional controllers and software-driven s DMX-compatible lighting effects (so-called "intelligent" controllers. They are all self-contained units and come in different lights) become increasingly affordable, most DJs are sizes. Software control, on the other hand, requires a computer and incorporating them into their shows and are becoming an interface.

Which one is the right one for you? It depends simply on how well versed on the advantages of using them. They offer advantages like no duty cycle, built-in programs and the added flexibility sophisticated you want your show to be, how deep your pockets are, of allowing you to create unique shows with little or no prior programming and how important different variables such as programming time, ease of use, number of fixtures controlled, number of channels per fixture experience. and versatility are to you. Every system has pros and cons. Let's weigh the options.

DMX Controllers: The

By

Barry

Abrams

A

Full Spectrum

While a majority of DJs can confidently pick the right lights for their needs, finding the right DMX controller can be as difficult as finding the right mixer. We have all gone through several mixers before finding the one that does the job just the way we want it to. The same holds true for DMX controllers. Choosing the right controller is perhaps the single most important buying decision you can make when it comes to DMX lighting. With few exceptions, any universal controller from a reputable company will control any type of DMX fixture.

The DMX-512 protocol was devised precisely to allow intelligent lights to share a common language.

Brand name matters only to the extent that you trust the manufacturer to provide a reliable, easy-to-use product.

Your choice is basically between hardware and software control.

30

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January 2005

Take It Easy

As the name suggests, easy controllers are designed for novices or DJs who do not have time to worry about programming light shows.

This type of controller is inexpensive and gives you instant access to functions such as blackout, preset programs and strobing. It is small, handy and easy to carry along.

The biggest disad­ vantage of an easy con­ troller is that you cannot use it to mix and match dif­ ferent lights in the DMX chain.

Easy controllers work with spe­ cific lights, usually made by the same manufacturer. Although that one manufacturer has enabled its fixtures to work with the controller—giving you a range of options—you still are limited by the fact that you cannot / add lights from other manufacturers. Another drawback of easy ^ controllers is that they are quite rigid and will not allow you to devi­ ate much from their programs. For example, if your easy controller has a preset program for four lights and you use just two, your show will probably not look very good. Also, there is no joystick, which means that you cannot use your fixtures as follow spots to highlight a precise location on your dance floor.

Conventional Wisdom The standard conventional controller resembles your DJ mixer and fits nicely in any DJ booth/club console. With this type of controller, you gain complete and direct control. You can select fixtures individually, change gobos, colors, locations of beams, and any other fixture attributes. All functions are controlled individually. You gain fast access to your fixtures' functions at the touch of buttons or sliders. Some controllers have joysticks that can be used to direct lights as follow spots or to quickly program X/Y movements. You can link fixtures together, create groups and program them at the same time. And of course, conventional controllers are compatible with all DMX-512 fixtures, regardless of brand. Prices start

around $100.

Conventional controllers do have their disadvantages, though. First, they are limited by their onboard memory as to the quantity of fixtures and channels.

Secondly, programming small movements via a slider can be a test in patience. Another disadvantage is the time it takes to program individual steps.

Programming in this manner, although fun, can be timeconsuming. Because of this, many of us can never really bring ourselves to fully explore the possibilities these controllers possess. Most controllers have between 400 to 4,000 steps available. Who has the time to program all of these? Finally, you have no for storage. In other words, if your controller backup for your hard work if the controller goes down the drain, so does all of your hard doesn't have the ability to download programs work at programming.

KETRON has once again taken the leap forward in producing a MultiPlayer and Drum Machine that not only takes musical ideas to the next level, but also easily provides vari­ ous combinations and manipula­ tions of Wave, Midi and MP3 files together.

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January 2005

31

Driven to Seize Power

liking, and in many cases, you can visualize them in 3-D before your ac­

Software-driven controllers perform the functions of conventional

tual performance. All major functions of the show are integrated: music,

controllers but they also make programming easier. This type of controller

video, external triggering, DMX, etc.

usually has profiles of most manufacturers' fixtures, which allow you to

If your software includes an effects engine, you can speed pro­

have your features (gobos, pan/tilt, colors, etc.) on specific channels

gramming even further, creating scenes with pre-designed movement

(referred to as "mapping"), even when the channel assignments vary

patterns and creating groups to program several or all fixtures at once.

between manufacturers. Mapping allows you to trigger built-in, pre­

You can easily manipulate preset designs to achieve different varia­

programmed effects at the touch of a button or slider. Now, simple

tions. You can also easily upgrade your software and securely back up

sweeps are combined in one step instead of several. Simply choose

your shows. For the diehard traditionalist, some manufacturers include

your color and gobo, then save.

optional external joysticks and even consoles with their software pack­

To accomplish the same feat, conventional hardware controllers

ages. And you may not always need your laptop. Most manufacturers

would require that you keep track of the different manufacturers' chan­

offer interfaces that allow you to store numerous programs that can be

nels, and locate them on your board. Programming a simple sweep

called up with a push of a button.

Unfortunately, on top of the purchase of the software, you must fac­

would require several steps.

On the flip side, software-based conventional controllers cost any­

tor in the cost of owning a computer and any interface required to trans­

where from twice as much to six times more than conventional models.

mit your programming to your fixtures. And, although you don't need to

Your ability to upgrade the software is also generally limited. And you

be a computer geek, you must be somewhat computer-literate.

may have to build your own library of profiles, which is, again, time-

The bottom line is once again to find the tool that best serves your purpose. The key is to make sure that your controller is user-friendly and

consuming.

gives you the ability to exercise your creativity with the right features and benefits. As with a mixer, your investment should be well thought out

Complete Computer Command Computer-based software control gives you a precise, systematic ap­

and flexible enough to adapt to your evolving needs. It should give you

proach to programming and typically provides all the features of your

the control and versatility that will help you awe your audience and drum

standard easy controller, conventional controller, and software-driven

up your reputation and business. •

controller together in one place. You can save multiple shows to your heart's content, being limited only by your computer's hard drive space— obviously a step up from a console. You can configure programs to your

Barry Abrams is product development manager at CHAUVET and can be reached via phone at 954-929-1115 ext. 25 or by e-mail at barry@chauvetlighting. com.

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DJ Seen with Impish Grin New from Computer DJ, the Computer DJ IMP provides Mobile DJs with an alternative to the standard laptop, combining style, perfor­ mance and portability. The lightweight, eye-catching, aluminum case conceals a full range of cutting-edge technologies, including: a revolutionary laser keyboard for ease of use in low-light condi­ tions; a crisp 14.1" TFT touchscreen display; and high capacity hard drives capable of storing over 100,000 MP3s. USB 2.0 connectivity allows easy file transfers. A secure biometric fin­ gerprint security device ensures that both the unit and your music are fully protected. All IMP units come with Microsoft Windows XP pre-installed, providing full compatibility with the wide range of DJ software programs and hardware controllers currently available. - www.computerdj.net

Getting Creative is a Blast Creative, a worldwide leader in digital entertainment products for PC users, has unleashed the PCMCIA Sound Blaster Audigy® 2 ZS Notebook sound card. It simply plugs into any notebook comput­ er's PCMCIA slot and provides a dramatic improvement in audio quality over the standard laptop card. ZS Notebook supports 24-bit/192kHz playback (including Advanced Resolution DVDAudio), as well as 5.1 and 7.1 surround sound. It improves the sound of MP3 music by delivering a 104dB signal-to-noise ratio. The card comes with EAX music tools, including: Audio Clean Up™ to easily correct scratches and pops in poorly recorded music; Smart Volume Management™ that automatically normalizes the vol­ ume level across multiple songs; a graphic equalizer; bass boost and more. MSRP: $129.99 - www.soundblaster.com

Put Your Vinyl through a Final Spin Cycle The much-anticipated FinalScratch® 2 is now available from Stanton.

This powerful hardware/software system for laptop-based DJs runs on both Mac OS X and Windows XP and includes the new FireWire ScratchAmp™ 2 with 24-bit/96kHz sound quality, phono/CD compat­ ibility, mic and aux inputs, MIDI and more. FinalScratch 2 also ships with the latest release of Native Instruments TraktorFS software. The new version plays AAC and WMA files. New turntable calibration tools make it easy to optimize the software for the most reliable perfor­ mance, while improved timecoding on the supplied records yields a more natural response. Other features include visual cue mark­ ers, audio loops, and an intelligent play history with time stamping and print capabilities. Along with the interface and software, you get 3 time-coded records, 2 time-coded CDs, 4 RCA cables, a FireWire cable, and a power supply. - www.finalscratch.com

**?>

DOTES

Computer Control: Making the Most of Your Lighting

By Anthony

Barthel

Eiation's Compu Ware 04 DMX control software is a full-featured professional tool that allows you to take full advantage of your lighting fixtures

Martin Renders Control in Silver and 3D Wittna cta^gn and

I

'm one of those people that software companies must hate. You know the kind—they get a software package, tear it open, install it and expect it to work without ever cracking the manual open. Oh, that's you too?

I think that's most folks, actually. The most recent piece of software I've been able to abuse is Eiation's Compu Ware 04, a program for controlling DMX lighting fixtures. Since it is a digital protocol, DMX-512 lends itself to software control. This kind of software promises to make the process of pro­ gramming a light show a lot easier and more fun than it ever was before.

Checking Out the Ware After tearing open the box, I found a CD and a fun­ ny-looking USB device inside. What that USB device does is hook up to the USB connector on your confuser, er, computer while providing an XLR cable connector on the other end. For those who haven't j used DMX lighting before, DMX fixtures connect to one another through standard XLR cables (although you can also buy specific DMX cables). By way of the signals sent through this cable, you can control the function of DMX-enabled lighting fixtures. For example, if you have a moving mirror fixture, you will be able to specifically point the beam of light by moving the mirror remotely using a DMX command. Other functions of your light (color, gobos, etc.) can also be controlled through DMX depending on the number of channels to which it responds.

Getting Right Down to Lighting Compu Ware acts as a virtual control unit on your computer and gives you a tremendous amount of creative flexibility. Basically speaking, you can create a light show in the software and then save it. Let's say, for example, you want to create a dramatic grand entrance. First, the lights might all be static (not moving) and set to a certain color. Then, when the bride and groom come in, all the lights go crazy and change colors while also moving their mirrors or heads to add excitement. You can do all this with a standard DMX controller, but with software it's easier to program your lighting designs and save them for use at any event.

All I wanted to do was install the software with no hassles and go do a wedding without the bothersome intermediate step of learning any­ thing. And, believe it or not, that's what I did. At the wedding, while I was sweating and swearing under my breath, I learned that the software had a built-in profile of my specific lighting effects, which happen to be American DJ Pocket Scans. By telling the software which lights I had, I could control specific gobos and colors, and even turn these particular fixtures' built-in lasers on and off or make them flash. There were several on-board light shows and patterns that I really enjoyed, and it only took me a few mo­ ments to figure out that I could have my lights follow the movement of my mouse. That was pretty cool.

M

artin ShowDesigner (MSD), Martin Pro­ fessional's lighting and set design soft­ ware package, now comes in two versions.

The all-inclusive MSD Gold contains new fea­ tures such as Live Video inputs and Fast NetRender, while Silver provides a streamlined version of the software. MSD allows you to create realistic set and lighting design ren­ derings using reflection, transparency, light­ ing, shadow and smoke.

Based on feedback from lighting profes­ sionals, Martin (www.martinpro.com) placed the key elements of the MSD software in MSD Silver while MSD Gold packs extra advanced features such as Rendering and an Off-Line Visualizer.

MSD Gold's Live Video feed for the 3D Visualizer allows live video signals to be in­ corporated into a visualization screen as the user creates a show. Fast Net-Render allows multiple computers to be linked to share the rendering process for large files, reducing the time required.

MSD Silver is an excellent addition for LighOockey users and is also included with

I had become rather bored with my lighting effects...

I had actually considered unloading them on eBay and pock­ eting the cash. But after doing two weddings with this software and lighting I already owned, I totally changed my mind.

Taking a Closer Look Later, after reading the manual, I learned that you can program chains of actions into a cycle.

"What's that?" you ask.

Imagine that during your favorite track you would like to have scans sweeping across the dance floor from right to left, then from fore­ ground to background, then repeating that pat­ tern a few times. You can quickly create this kind of multi-step sequence by programming it into a cycle. You can also create more complex patterns for your lights to follow, such as figure eights, stars, etc. Anything your lights can do, you can access through this program. Once you save your cycles for a specific song, they'll be there for you to use whenever you play that track.

Compu Ware also gives you the ability to fly "blind" when program­ ming. (There's a funny term in the realm of lighting). What this means is that you can set up your light show on the computer without having the lights attached, and then go to the show and simply plug vem in and get 'er done. Maybe "virtual" would be a good substitute for "blind," as the software provides a window where you can see a three-dimensional view of what the lights are doing. (This kind of function is often called a "visualizer.")

While I found it easy to get up and running immediately with Compu Ware, if you want to take full advantage of all its capabilities, it does help to have either DMX lighting experience, a great deal of patience or, lacking either of those, enough of a "nerd factor" to understand computer-based control systems.

For example, a DMX light show is comprised of scenes. If you set up all your mirrors, gobos and colors in a static display, that's a scene. Move them to a new configuration and that's another scene. This software helps you deal with moving from scene to scene pretty well. The real challenge is dealing with all the windows that open to show the information for each scene. If you are inexperienced with DMX programming, it could become a little overwhelming. If you have previously done DMX programming only with hardware controllers, you will appreciate having a graphic interface to use, as opposed to relying on a small LED display, your memory and a note pad.

Martin's Maxxyz lighting controller. For current MSD users, the upgrade to MSD Gold is available at www.lighthouse.nl.

Cubase Takes Next Step Steinberg Media Technologies, one of the world's leading suppliers of music and media production systems for PC and Mac, has re­ leased the latest generation of its renowned Cubase music production software, Cubase SX3 (MSRP: $799). It includes some excit­ ing new tools for dance music construction.

Audio Warp, a real-time, time-stretching and pitch-shifting tool, offers new audio and processing capabilities, including ACID® file support. Combined with the new Play Order Track, an innovative new tool for pattern/ style composition, Cubase SX3 offers a fresh approach to loop-based composing and ar­ ranging. The new In-Place Editing system al­ lows convenient editing of MIDI data directly within the Project Window in context with audio and video data. Go to www.steinberg. net for more on this powerful program.

Keepin' Hip-Hop Real with Modern Beats With the rise of software samplers in hiphop production, some would say the realism of vinyl is melting away. ModernBeats.com has remedied the situation with a new addi­ tion to its downloadable sample library, the first set of a larger collection: Vinyl Scratchez 1-Kikz & Cymbalz. This multi-format sound set is packed with over 900 genuine vinyl scratch sounds—most recorded live.

Each user-friendly preset has an average of 48 samples, thus giving the user a wide creative palette for putting together scratch sequences. The sound set is designed for all major software samplers. Native formats in­ clude HALion, EXS24, Kontakt, Battery, Rea­ son NN-XT, SF2, and .WAV. Vinyl Scratchez 1-Kikz & Cymbalz is available for download ($29.95), or can be ordered on CD-ROM. For more info and audio demos, visit www. modernbeats.com.

Compu Ware provides a number of cool performance features.

You can trigger lights from your keyboard with hot buttons, for that spur-of-the-moment lighting inspiration. It also communicates with other digital audio and video devices through MIDI, giving you even more freedom to exercise your creativity.

One really cool feature gives you the freedom to leave the computer behind after it has facilitated your programming. Lighting sequences can be stored in the aforementioned USB device, so you can show up at a per­ formance and have lighting patterns ready to go, despite the fact that you just drove over your computer or simply left it in the office.

Breathing New Life into Your Lights Compu Ware gives you the ability to make a spectacular light show, even with relatively simple DMX fixtures. If you start utilizing more fixtures with greater capabilities in combination with this DMX software, you'll come up with something quite remarkable.

Truth be told, I had become rather bored with my lighting effects.

Since I don't use them all that often, I had actually considered unloading them on eBay and pocketing the cash. But after doing two weddings with this software and lighting I already owned, I totally changed my mind.

While there is definitely a learning curve involved if you want to get the most out of DMX lighting in general and this software in particular, I was able to tap into my nerdy side and actually create some light shows that opened up fresh possibilities for my existing lighting gear. I had found creating light shows with traditional lighting controllers to be somewhat tedious, but this software really opened up my options and recharged my creative batteries. For that reason alone, this might be worth considering for anyone who has DMX lighting fixtures and wants to create dazzling shows.

Getting Techie Included in the Compu Ware 04 package for both software versions (see below) are a CD-ROM, a USB/DMX interface module and a reference man­ ual. Up to 512 DMX channels can be run per USB interface; to run more than 512 channels, an additional USB box must be used.

Compu Ware 04 can only be used with computers running Windows ME or XP. Other system requirements are as follows: 800 MHz, Pentium 3 processor or better; 250MB RAM; USB port; and 800 x 600 screen resolu­ tion or better. Minimum requirements to operate the 3D rendering feature are DirectX 8.1 and 16 MB of graphic memory.

Compu Ware 04 options with MSRPs: • Compu Club (basic version) - $649.95 • Compu Pro (professional version) - $1,299.95

Elation Professional • 4295 Charter St. Los Angeles, CA 90058 Tel: 323-582-3322 • 323-582-3108 www.elationlighting.com

Stepping Up

the Mega Mac Attack

MegaSeg Fidelity Media has announced the latest major upgrade to their Mac-based DJ soft­ ware: MegaSeg 3.0. The release has over 100 improvements and new features, in­ cluding: a massive revamping of the user interface for live mixing; a new dual-deck player view; expanded database fields; bet­ ter ITunes and IPod integration; multi-select edit abilities; a new search engine; improved events programming and scheduling fea­ tures; the ability to preview saved play lists and "cherry-pick" tracks into the master play list; Web-based remote control; an improved category browser; a new log browser; rightclick support for list displays; and an all-over interface makeover that improves on the ease-of-use MegaSeg has been known for in the Mac-using Mobile DJ and radio communi­ ties. MegaSeg 3.0 supports all Apple systems running Mac OS X and a 500 MHz or faster processor.

"We are thrilled to release 3.0, as nearly every part of MegaSeg has been updated and enhanced," said Jason Cox, president and lead developer of Fidelity Media. "We lis­ tened carefully to our users' needs, and feel MegaSeg 3.0 will make them very happy."

MegaSeg 3.0 is available from Fidelity Media at www.megaseg.com for $199. Previ­ ous version owners should check at the site for discounted upgrade pricing. Fidelity Me­ dia also released a free update to the current version of MegaSeg (2.7.4), which addresses an issue of displaying artist and album text ! when importing songs bought from the iTunes Music Store. The update is available | to all users of MegaSeg 2.5 and higher.

CUSTOMWARE AT YOUR SERVICE

UPDATING YOUR CALENDAR To make your event planning even more efficient, the new release of DJCalendar (www.djcalendar.com), version 4.0, allows you to design your own data entry form to capture your clients' information.

Its custom form designer provides you with the ability to create your own contracts, wedding forms, invoices, and receipts, while incorporating your own business logos. DJCalendar also has a unique, built-in e-mail program to broadcast your custom forms and contracts to your customers using your existing business e-mail address. Other essential features include envelope label printing, CDDB music recognition, multiple-user networking capability, a banking function, interaction with MS Word documents, and more.

In upcoming versions of DJCalendar, look for a variety of new plug-ins, including add-ons for faxing contracts directly from the software and secure credit card processing.

Customware (www.cwarenet.com) has updated its flagship DJ business software package with Service Release 2 (SR2) for InfoManagerS. This free update applies to all SR1 editions of InfoManagerS (Express, Standard, & Professional) and contains a number of updates and fixes. The company has also released MusicManager 3.5, the latest f » —K www.ctratenct.com • (^Customware upgrade to this music and media cataloging software. This update provides several new features like seamless Internet database scanning of audio CDs, several new reports, a brand new Music Explorer, an online BPM (beats-per-minute) counter, and more.

The third release of InfoManager integrates hundreds of user-requested features from users worldwide. Look for new directions, like Web-based access and pocket versions of Customware products in the near future.

GET FOUND ONLINE With all the Web sites out there today offering a listing in a directory, it's hard to know what sites to sign up for. If it's a free membership, that's one thing, but paying to be promoted on every site that has a directory of disc jockeys is out of the question. After trying out many DJ listing sites, and feeling like he had wasted hundreds of dollars on nothing, Ryan Bell decided to start his own. "Being totally sick of online advertising, I decided to create my own Web site just for weddings," says Bell. "It will include a disc jockey directory and will contract out online marketing professionals to really bring in some quality, DJ seeking traffic." You can find the site at www.ProDJFinder. com. The site is being promoted not only on the largest search engines, but also on online wedding planning sites, as well as in selected magazines and newsletters.

INTELLIGENT COUPONS ONLINE With the release of Version 4.5, DJ Intelligence (www.djintelligence.com), the online software service-provider that allows DJs to add interactive tools to their Web sites, has added power to its Quote Generator feature. It now has the added functionality of promo codes—in essence, an e-coupon. DJs can give the code to prospective clients, who can use the code on the DJ's Web site to receive an automatic discount. Users can set up an unlimited number of unique promotions that correspond to a specific campaign. For example, let's say you are going to do a bridal show this winter. You can set up a promotion called "Winter Bridal Show" with a promo code of "WBS1214" offering a discount of $50 (or whatever value you decide). When you meet with prospective clients at the bridal show, you can jot the code on the back of your business card and tell them to go to your Web site to receive a special bridal show discount. Not only will this drive clients directly to your site, but also help you track the source of Web site inquiries.

Other ideas include giving codes to current customers or photographers and other vendors providing discounts for their referrals.

DJ Intelligence offers a series of directly installed, interactive applications, all customized to fit your site's appearance. Over a dozen tools are included with the annual subscription service, including an availability checker, an online music search and request system, event planning forms, satisfaction surveys, a price quote generator, and a lot more.

38

www.mobilebeat.com

January 2005

PRO SOUND AND STAGE

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FEATURE

T

Remember that you're going to want the gear that you use most at a performance to be at a comfortable working level, so figure this into the equation.

Your gear is sending secret messages to your audienceâ&#x20AC;&#x201D;will they be good or bad?

By

Anthony

B.

Barthel

t's the oldest saying in the book, but there is a lot of truth to the adage "you don't get a second chance to make a first impression."

When guests at an event walk in and see what they perceive as a professional sound system, they are going to get the notion that the performer matches that initial impression. But if you leave a jumbled collection of wires and gear on a table, without saying a word, you're suggesting that they are about to experience a less-than-professional performance.

Gear, in and of itself, cannot necessarily add to your performance, but the appearance of disorganization or a second-rate presentation can definitely cloud guests' minds, leading them to think that they're getting something less than the best. So what are you going to do?

Repackage Your Merchandise With a few simple steps, you can significantly improve the appearance of your sound system and probably save yourself quite a bit of time in set-up.

The first and most obvious thing you can do is put your main sound gear into a case, if you haven't already. A myriad of manufacturers have cases of all sorts to house your equipment, giving it a neat and tidy appearance and also eliminating time spent on putting it all together before

each performance.

For those who don't know, almost all professional equipment is measured in the number of rack spaces it takes to house that gear. The dual player component of a professional CD player takes up two rack spaces, in most cases.

Mixers run the gamut from one rack space for the most basic utility models, up to 10 or more for full-featured DJ units.

When purchasing a case to house your gear, make an evaluation of how many rack spaces your system takes and buy accordingly. Remember that you're going to want the gear that you use most at a performance to be at a comfortable working level, so figure this into the equation. You might plan to have the case on a banquet table, but some DJs have enough gear to warrant a stack of cases that place their main mixer and control unit for their music source (CD deck, computer, etc.) at a comfortable height.

Another option is to use a stand to place your gear at just the right height.

There are several styles available: folding stands made of the same carpeted wood as many cases and foldable, X-shaped stands, like the ones used by keyboardists and other musicians.

Carpeted wooden stands can be a good choice because they typically have a shelf built in and many come with a handle, which makes them convenient

to move. You can add to the practicality of these units by heading to a local home improvement store and buying garage door bumpers. They are just thick enough to run cables through and also protect the carpeting. They also provide a small degree of shock protection.

Tale of the Tape

From your main sound system, your cables have to run to your speakersâ&#x20AC;&#x201D; this is where "dressing up your gear, tip #2" comes in. That same local home improvement store will likely sell what are called anti-fatigue mats. These are designed for kitchens or other areas where employees are standing for long periods of time. Professional entertainers can use them for two purposes: keeping our feet fresh and also helping to corral the cables that are part of our lives.

From the edge of this anti-fatigue mat, the cables can run out to your speakers.

To significantly reduce the chances of guest injury, DJs have usually resorted to duct tape. Duct tape is certainly the force

www.mobilebeat.com

January 2005

41

that holds the universe together, but its silvery appearance does nothing for our image.

Consider gaffer's tape as an alternative. It comes in a number of widths, and you can save a great deal of time buying tape wide enough to cover all your cords in one pass. There is also a variation on gaffer's tape called cable pass tape.

This tape has adhesive on the outside edges and none in the middle, thus keeping your valuable cables free of gook. In addition to its width, these different varieties of gaffer's tape have the advantage of not leaving residue on surfaces, so you won't hear complaints about your tape peeling up the finish on wooden floors or ruining carpet.

Beautiful Music

What about your music? In the earlier days of our profession, DJs stored records in milk crates that were, uh, borrowed from the local dairy. Today, there are many more options. For storing and organizing the ubiquitous CDs that mobiles use, one of my favorite options is to use categorically sorted binders.

I keep them in a library-style arrangement with the binders facing me and with labels placed on the binders. If I'm looking for the latest hits, I simply grab the appropriate binder, where I have them sorted by release date. A nice side-benefit of storing your music in this manner is that you can flip through the binders at the end of the evening to make sure everything's back where it belongs.

Miscellaneous Solutions

For cables that your guests might see there are several options. You can use Velcro® cable ties, which are available through most major DJ retailers. Another way to make cables look neat is enclose them in cable guides, which are available at major home audio retailers. These help you create neat "snakes" out of multiple audio cables, keeping them protected and also looking great.

If your equipment is all neatly packed into a case, it will be slightly more difficult to reach the back of the gear. So, what do you do when the videographer or a live musician at a performance wants to tie in to your system? My solution is to run cables from the back of the system to the front, giving me immediate access to an open channel on the mixer without ever having to open up the case. Bring connectors to adapt to other equipment and you will be a star in the eyes of your fellow event professionals.

These are just a few ideas for repackaging your gear in aesthetically pleasing ways.

Hopefully this information will help you match the appearance of your tools to the stellar levels of your personal performance. • 42

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January 2005

You've Got the Look Some DJs prefer a simple,

good-looking rack as a solution for both transporting and "dressing" their gear during performances. Obviously, this is the most efficient way to make your setup both mobile and attractive. With all those cables that need to be hidden from sight, many jocks opt for an additional wall of separation in the form of a DJ booth facade. You can go with a plain approach or add some flash to the facade with rope lighting or fiber optics.

Most case companies carry a variety of DJ fagade options.

A number of them also have some other unique options for supporting your gear in style, such as special tables or stands.

Check out the following...

Facades GRUNDORF CORP. www.grundorf.com ODYSSEY INNOVATIVE DESIGNS www.odysseygear.com Also check out the stylish, silver truss Odyssey DJ Table (model ATT) SHOWCASE PRESENTATIONS www.showcasepresentations.com Built-in rope lighting TOP TONE MFC, INC. www.toptonemfg.com

Keyboard-style Stands HERCULES STANDS www.herculesstands.com MUSIC INDUSTRIES CORP www.musicindustries.com ON-STAGE STANDS www.onstagestands.com ULTIMATE SUPPORT SYSTEMS www.ultimatesupport.com Other Cool Options

COLORADO SOUND 'N LIGHT www.csnl.com Supertable—combo gear-mover/performance table DJ SKIRTS www.djskirts.com Covers for your speaker stands PROWOOD PRODUCTS www.prowoodproducts.com Unique, large booth/stage setups UNITEC PRODUCTS www.unitecproducts.com "Lid leg" coffin case—lids create sleek legs for table

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FEATURE

B6St Traditional concepts see slight alterations when it comes to professional appearance

I

By

Dan

Walsh

t may seem like a no-brainer: a Mobile DJ wears a tuxâ&#x20AC;&#x201D;end of story. Actually, though, DJs who strive to present themselves in the most professional manner don't always have to put on the old penguin suit. One key to DJ fashion success is knowing who you are as a performer. Another is knowing what your clients expect well before you walk into the event site.

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Basics "Unless the clients tell me otherwise, a tuxedo is always the dress code for me," states Ray Martinez (RayMar Productions, Anaheim, California), summing up the generally accepted approach. Common sense dictates that looking one's best involves "dressing up."

The tuxedo is the traditional choice for apparel that exceeds all other levels of everyday clothing. For milestones like weddings, it's logical to dress according to the importance of

the event. "Someone once said you should be as well dressed as the best-dressed individual at an event," reports Tony Barthel of Sounds Like Fun in El Segundo, California.

Gone, however, are the days when the basic black and white outfit was the only acceptable choice for looking good. Variations on the theme abound, with a wide variety of fashionable alternatives available to suit your style. You may not even need to wear a tux. Most of the DJs surveyed for this article agree with Mike Ficher (Dance Express, Bend, Oregon): "For weddings, I offer tuxedo, semi-formal, or suit and tie. To maintain high

Looking the part enhances credibility, displays.professionalism, and supports an impression that the DJ is tuned for success. professional standards, I will not dress less than a suit and tie."

"During the consultation I ask what the proper attire for their event would be," says Tony Alonso from A Premier Entertainment in Winter Haven, Florida. "For 90% of our events we come out in formal wear."

An alternative view comes from Mark Johnson of New Monmouth, New Jersey.

"If I'm doing a wedding, it's dress slacks, a dress shirt and a music-themed tie...Nobody confuses me with the groom." This method of putting the spotlight on the event's most important peopleâ&#x20AC;&#x201D;the bride and groom, in the case of a weddingâ&#x20AC;&#x201D;fits Johnson's particular market niche. "There's a whole audience that expects tuxedos and the whole image thing," he explains, "I just don't cater to it, as there are dozens of DJs in my area that already do..."The lesson here: know what your clients expect of you.

Expectations vs. Personal Image For DJs working in the club and scratch realms, fashion is a totally different animal. The motto "expect the unexpected" sums up the creative freedom that these DJs have when it comes to fashion. Yet, however wild some underground fashions may seem to the general public, there is still an expectation placed on these DJs to fit in with the clothing styles associated with their particular genres.

The expectations placed on Mobile DJs are more restrictive in many ways, but there is still room for personal expression. In fact, some DJs have found ways to create signature styles that make a personal statement without pushing the bounds of appropriate dress too far. American Disc Jockey Association vice president DJ Dr. Drax, known for his distinctive suits (usually in bright colors with long tails) exemplifies this approach: "...I use it to develop a 'branding' of sorts," says Drax. "It is a way to differentiate me from others, to create a performance image or style that is unique..."

Offering another possibility, Barthel says, "For gigs, though, it's about sending a message, so I wear clothing that says who I am without being too flashy. Tux pants, a vest with music notes on it, and a black shirt. (Photographers have told me this mostly-black ensemble is very easy to retouch out of photos.)"

Ultimately, the most important thing is that the DJ and client are "on the same page" about attire. Of course, sometimes that can be a very

different page. Alonso describes an exceptional event: "I once did a beach wedding where they wanted a tux jacket, tux pants, flip flops, no socks, white button up shirt, not tucked in, and baseball cap. I absolutely loved it!"

Walk on the Wild Side Sometimes, what's expected is...wildness!

For DJs who offer any kind of themed entertainment, appropriate dress can run the gamut from popping on a cowboy hat for a line dance session to donning a full costume.

When considering putting on a themed event, it makes sense to dive in and give the audience the full effect. Expressing the importance of playing your role to the fullest in each particular gig, Ficher says, "Since I perform at many theme-oriented events (disco parties, '50s/'60s sock hops, swing events), theme attire is standard and adds to the tone of the event. If I look the part, it increases my credibility when I venture to the floor to perform or teach a dance or conduct a raffle."

"Wardrobe completely matches the theme," echoes Dr. Drax. He observes succinctly: "A simple hat rarely really connects."

interviewed responded with a resounding "No!" Martinez sums up the general feeling when he says, "Absolutely not. You should never charge your client for looking your best."

On Your Shoulders In the end, it is always up to you to make sure your appearance matches the event. "A totally negative affect would not be unreasonable if DJ attire is below expectations," declares Bradlee, "but then again, the issue of dress should be discussed in advance of event. If the client forgets to bring the subject up, the DJ should make sure that he/she clearly defines what is expected. If that's not done and the client is disappointed, it is the fault of the DJI" Attire is ultimately just one more tool that a DJ needs to use skillfully. "Each event offers a DJ an opportunity to play a unique role," reflects Ficher. "Looking the part enhances credibility, displays professionalism, and supports an impression that the DJ is tuned for success. In motion pictures and in theater productions, all the players are dressed appropriately for their part. A DJ should be no different."*

Money Matters?

What about the cost? Costuming obviously means extra expense. Art Bradlee, president of the Global Mobile Entertainers Association and an experienced multi-op owner, weighs the extra service versus the cost this way: "We'll be www.afterhours.com anything they want us to be...we'll get involved as much as the client wishes. Usually the upcharge will be the cost of costume, plus $75 to $100."

The area of costuming offers an www.actux.com opportunity for barter, as well. Mike Starnes of Arlington, Texas is always on the lookout for ways to minimize cash outlay and maximize www.cheaptux.com future bookings. He says, "We typically secure hats and caps from local sources that exchange 800-522-4338 referrals with DJ services."

Ray Martinez makes some other sensible points about the ultimate value versus the extra cost of costuming: "If I actually had to go out and spend a ton of money then maybe I would www.gingiss.com consider charging them a premium. Again, we are professional entertainers. We can actually write off our attire. We must look the part and when we do that's when we get paid www.menswearhouse.com accordingly."

By the way, when asked if they charge extra for simply wearing a tux, all the DJs |Www.stageshirtz.com

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www.mobilebeat.com

January 2005

45

REALITY CHECK

OVERSTAYING

My Welcome?

By Mark Johnson

and the adults. As an adult, I've managed to think like a kid, at least musically. Until recently, when speaking with young people, the groups and artists were familiar and I knew what their music was like.

(Parti of 2)

I

think I just performed at my last school dance. I've often said that I would hang up my turntables and CD players when being a Mobile DJ wasn't fun anymore. I never thought that day would come...but I think it just didâ&#x20AC;&#x201D;at least for one type of gig.

Lately It Occurs to Me...

I've enjoyed playing for many, many school dances over the years. It was my preferred target event, as I could create and work a mailing list of schools in my area and it would not interfere with any weddings or other weekend parties. I had a pretty up-to-date "who's who" of all the school names, advisors and musical preferences for all the schools in a 30-mile radius. I kept it pretty current with mailings in September and February

...What a Long, Strange Trip It's Been My last school dance was at a school where I had played many times over the years. I felt really connected with this school, always preparing early with the right music (20% urban population with 80% urban music) and I had developed a How old is too old very high confidence factor. It was so coherent when it comes to that as I was cueing up the next song, some kids DJing youth dances? would come up and ask for it. You can't be any more synchronized than that.

Or is it all attitude?

This particular dance provided a rude awakening. I did my usual preparation and song acquisition and felt pretty prepared. I printed out as well as follow-up the different Billboard lists and had the kids mail me a request list. It

phone calls.

Granted, as I got older it became clear that the kids were remaining the same age. Thus, what was a small age gap got larger and larger over the years. For a while, I could circumvent this age difference by keeping current with today's hit music, watching a little MTV, getting request lists before the dance, and listening to their radio stations during the week prior to the dance. Then, within the last year it became very obvious that I was overstaying my welcome.

So, what's the big deal? I'm 46 years old but have often been mistaken for 35.1 don't have gray hair yet, so that's a blessing. I don't look cool by any standards but I've always depended on putting the music first and anything of a personal image behind the scenes. You wouldn't confuse me with Justin Timberlake.

I've provided a decent light show to go with my reasonably punchy sound system, so I don't think it's a technical problem. I never said anything condescending or corny on the mic either. I just announced the songs or other information, or solicited requests.

I finally fell out of touch with the music. I'm starting to understand what was going on when Elvis was shaking his hips or the Beatles their "long" hair. Clearly a line was being drawn between the kids

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January 2005

seemed a little funny that a good portion of the songs on the request list weren't on the Billboard pages (Pop or R&B, that isâ&#x20AC;&#x201D;I wouldn't expect any from the Adult Contemporary, Albums Tracks or Country charts). But I begged, borrowed and stole to get as many of these songs, so as to increase my confidence factor. Still, at the dance, I got blindsided by many songs that I never heard of.

Surely over the years I've had situations where I missed an obvious hit. I keep a log of all the songs I didn't have at any dance and sometimes review them later to see if the songs were a flash in the pan or my first brush with a mega-hit. It runs about 50/50 with these initially unknown songs. | took my missed list from the last school gig and tried to find the songs on the current Billboard lists and barely found one. Knowing that Billboard is a little generic and that many Top 20 songs remain j n place for at least 4-5 months, I still didn't find the majority of them, Also, as I read the current Billboard lists, they revealed a whole new set of songs that was strange to me.

Am I getting lazy? Am I not paying enough attention to today's hit radio music? Should I be watching MTV 24/7? Should I expand to include viewing BET in my spare time? Am I trying to be the

contemporary DJ that I used to be? Is it all my fault for dropping the ball or are there other factors?

Dance Tune Drought One other factor could be the ebb and flow of contemporary hit music (CHM) as it pertains to Mobile DJs. Months pass when CHM is stagnant—full of listening music instead of dancing music. You don't want to depend on past CHM dance songs ("Mambo #5," "Gettin' Jiggy With It" or Eminem's fun songs) as you could come across as being lame and the kids would lock you up in the closet with grandpa.

Today's CHM appears, at least to me, to be a long drought of listening music with barely a danceable current hit. I'm not talking about the dance music genre; I'm talking about danceable songs in the pop Top 40. As I write this, the most promising song is Outkast's "Hey Ya." Great song, but it can't support a three-hour school dance.

Speaking of dancing, it appears that what now passes for "dancing" is just an imitation of the over-choreographed moves on the music videos. Just another example of the generation gap, I guess.

A few years ago there was a car commercial announcing that the new line was "not your father's Oldsmobile." Perhaps I'm becoming older in my lack of patience for things younger. Like Elvis and the Beatles before us, these generational gaps are

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inevitable. At least the music of these icons was significant enough to stand the test of time. I can't imagine an oldies station playing Beyonce in 2025.

Forever Young Some schools allow students to be the DJs. That's good and bad on a few levels. It's good, in that the DJ will be very in tune with the students' music. A student DJ can also dress like his or her peers and make them comfortable by acting like them—generally appearing very cool. But it's bad, in that most students aren't tolerant of other student's musical preferences if they don't fit with their own. Also, a student cannot be as responsible as an adult regarding music and behavior.

Maybe I should endeavor to hire a student to be my MC/Program Director for school dances. I may enlist my 16-year-old son's musical input. But as a boy, he's more into Blink 182 than Beyonce and the punk rock stuff doesn't carry a school dance like the hip-hop or dance music does.

Am I finished with school dances or is this just a funk I am in?

I've certainly enjoyed youth events over the years. Maybe my time has come. We'll see.* Tune in next time for Part Two...

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www.mobilebeat.com

January 2005

47

CROWDPLEASER

I

f Sherman or Marty McFly were to hop into Mr. Peabody's Wayback Machine or Doc Brown's DeLorean and venture to a wedding reception, corporate event or family celebra­ tion in the late 1970s, the two time-traveling adventurers would probably not recognize the mobile disc jockey.

"Where's the interaction!?"

Sherman might exclaim.

"Does he speak?" Marty might wonder.

"Does he play any games?"

Sherman might inquire.

While the delivery of music may have been a bit more complex than simply pushing a few buttons, the role of the disc jockey in the infancy of this profession was more straightfor­ ward. Roll in your equipment, set up your turntables or cas­ sette players and fire up some great tunes. Not much else was expected or demanded. The presence of an on-site program­ mer able to respond to requests and replicate—or better yet

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January 2005

create—great mixes or construct out­ standing dance sets was the novelty.

Back to the Future Returning to the present, Sherman or Marty would see a significant evolution.

Yes, some jocks still cling to their status as human jukeboxes, and a market ex­ ists for those services in many areas.

But the expectations and demands of clients, the relentless advance of technology—producing wireless mi­ crophones, lighter and more powerful equipment and digital music delivery— and the desire of many jocks to expand their revenue sources, as well as sat­ isfy their creative outlets, has rendered the static mobile jock a vanishing breed.

Comic, dancer, dance instructor, game show host, engi­ neer, interactive guru, emcee...with those expanded expecta­ tions of what a DJ can do, plus the variety of events we now service, having a clear understanding of our role has become more important than ever in assuring the success of an event.

Unlike those past events viewed by Sherman and Marty,

Although I am teaching a dance, I am really not in the role of a dance instructor. I am merely employing dance as a vehicle to engage and entertain.

increasingly, the quality of our music selections is not the sole determining factor in the perception of DJ success.

Turn the Spotlight

In the new world of the mobile entertainer, not every event requires us to be the star, the highly visible presence draw­ ing the spotlight to the stage. In fact, many events require skills that vary greatly from that of a music programmer. My own diverse event play list during the last several months offers a peak into the evolving "vaudevillian" direction of the profession.

Recently, I provided engineering support at an auction/ fundraiser. Didn't say a word over a microphone, didn't lead a game, didn't play any dance music, didn't teach a dance.

But, through the judicious employment of drops (drum rolls, applause, rim shots, "Final Jeopardy" music, tunes during transitions), a suitable selection of background jazz and pop instrumentals during the silent auction period, and a keen awareness of the speaker's microphone needs and habits, I was able to contribute to the success of the event. My role was to make the speaker and her organization look good, help enhance the auction experience for the attendees and, more importantly, support the fundraising effort. The orga­ nizers want to book me for next year's event.

Are You Ready?

At the Deschutes County Fair this summer, I served as an emcee at a "family fun zone" that was sponsored by a cou­ ple of prominent local corporate businesses. After helping lead five activities during a five-hour period, the coordinator indicated I would be welcome next year in the same role and for more shifts.

Preparation served me well in enhancing my contribu­ tion to the fun. I had visited the fair the previous evening, scouted the area, learned about the specific activities scheduled and gained knowledge on the fair and activity sponsors.

With the limbo on the agenda, on my own (although they indicated everything needed would be supplied!), I brought a couple of flexible, plastic rollout bars (much safer than the broom handles provided), a nine-minute limbo mu­ sic mix (they did not have limbo music), notes and musical beds for the games. Arriving about 30 minutes before my scheduled shift start, I learned the appropriate designation for the family fun zone, the coordinator's goals for the event and the promotional requests for the sponsors and other fair activities. The input, combined with energy, enthusiasm and professionalism, facilitated a polished performance, heavy on promotion and sponsor acknowledgement.

Dance to the Music

On several occasions, I've entertained at events by teaching simple and fun line and/or partner dances, usually working with a band or other entertainer. Without the benefit of a cocktail or dinner period or longer event participation to get a feel for the crowd, I've often needed to establish an instant rapport with the crowd—to hit them fast with my "A" stuff.

When following other entertainers, I always acknowl­ edge them with a testimonial designed to elicit applause for their efforts. Then, I quickly introduce myself and/or my part­ ner and invite everyone to join us on the dance floor, empha­ sizing the simplicity and fun of the segment.

Although I am teaching a dance, I am really not in the role of a dance instructor. I am merely employing dance as a vehicle to engage and entertain. Whether they "get" the dance is not really critical. If we spur interaction, coerce a few reluctant attendees to the floor, create a buzz on the floor and, most importantly, "leave 'em with a smile," we have optimized our opportunity.

Now Hear This

Success in these varied environments with numerous personas starts with the customer. "I think first understanding your role comes from proper communication with your clients," notes David Van Enger of Music in Motion in Sacramento, California, who provides services for the River Cats minor league baseball team and the Kings NBA club, in addition to his mobile clients. "You should always take an open/obser­ vational approach to every event. Your role in and for their event is, for the most part, established by your clients."

Even with all the fancy new tools available to jocks (karaoke, game shows, video, party favors), the heart of the presentation is still the entertainer and the focus is the role we need to assume to succeed.

"One thing is for sure: The more the guests see you involved the more they are going to feel you are responsible for either the success or failure of that event," said Van Enger. "Don't just lollygag it. Either do it right or don't do it at all." Even Sherman or Marty McFly—regardless of the time period they might find themselves in—would both under­ stand that role.*

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January 2005

49

DJ ALL STARS

Don't Forget the Baklava

Gastronomic traditions are still a "must" at most Greek weddings. John Marcopulos describes the delights: "An egg soup, called avgolemono, must be served and the salad must contain feta cheese and Kalamata olives and sardines...the biggest tradition at Greek weddings is the dessert table. It is always piled high with traditional Greek sweets such as baklava, galaktobouriko, melomakarona, kourambiethes, koulourakia,! diples, and much, much more."

edding" ^Mccessrpr Chicago PT~

By

Chuck

Shriver

Winning Combinations

"Nice Greek girls are expected to do three things: Marry Greek boys, make Greek babies and feed everyone until the day we die."

John Marcopulos and George Samiotakis are the principals in DJ's Inc./ Alpha Tunes. "Our strength is that we are of Greek heritage and have grown up immersed in Greek culture, but we are able to take a Greek wedding celebration and weave in things that are traditionally American in a sensitive way that makes the most traditional of Greeks happy and still provides an enjoyable evening for second and third generation Greek-Americans," explains Marcopulos.

Marcopulos, who is also national sales manager for Bag End Loudspeaker Systems, began working as a DJ while interning at a radio station in Tampa, Florida. "A woman at the radio station asked me if I did weddings," he recalls. "I said, 'Yes,' and from that got referrals and I was on the way." When he was offered a job at a Chicago area radio station, Marcopulos moved back to the area where he grew up and continued DJing for weddings as well. While looking for turntable needles in a music store, he was introduced to George Samiotakis of Alpha Tunes,

- Toula Portokalos, from My Big Fat Greek Wedding The surprise smash comedy film, My Big Fat Greek Wedding is a fictional story about the trials and tribulations of a girl from a very traditional Greek family falling in love with—and marrying—someone who is not of Greek heritage. Written by Nia Vardalos, a woman of Greek ancestry (who also stars in the film as Toula Portokalos), the plot depicts the struggles of a Greek woman who tries to get her family to accept her non-Greek fiance, while at the same time coming to terms with her own cultural identity. Her story provides lots of laughs while at the same time painting a poignant portrait of her battle to meld old and new.

The traditional Greek wedding that takes place in the story may be fictional, but it is very much based on fact. Like many ethnic groups, the Greeks love their traditions and try hard to maintain them in today's homogenized world.

That My Big Fat Greek Wedding is set in Chicago is not coincidental. The third largest Greek population in the world—an estimated 400,000—resides in the Chicago area. So maybe it's not surprising that one of the busiest DJ companies in the Chicago area is comprised of DJs with Greek ancestry who speak both Greek and English fluently and are well versed in Greek culture.

50

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January 2005

who provided entertainment at Greek wedding receptions. "We started talking," Marcopulos remembers, "and decided we should pool our talents."

The ability to combine Greek and American wedding traditions into wedding reception entertainment has made their company one of the busiest in the area. As if to underscore the point, Marcopulos and Samiotakis were hired by Sam Vardelos, the uncle of My Big Fat Greek Wedding star Nia Vardelos, to perform their magic at two of Nia's cousins' weddings, one in November 2004 and another coming

up in September of 2005. "We feel honored to be asked to be the main entertainment at both functions," Marcopulos reported.

and English, for a round of applause to honor the bride on her wedding

High-quality sound is important to the success of each DJ's Inc./

family come up to the bride with hands full of dollar bills—sometimes

day. As she is dancing around the floor, relatives and friends of the

Alpha Tunes gig. In fact, Marcopulos's dedication to excellent audio

10s, 20s and occasionally even 50s—and toss the bills high in the air

brought about his position with leading speaker manufacturer, Bag End.

so they shower down on the bride. There can be many hundreds of

"I wanted to add some more speakers to our inventory and visited the factory in Barrington," he says. "I spoke with Jim Wischmeyer (president

wedding. After the bride makes a full turn around the dance floor, the

of Bag End) and I guess my enthusiasm for the product and my sales experience impressed him—a short time later he offered me the position

After the Koumbara, Koumbaro, parents and bridal party dances, even

of sales manager for the company. I jumped at the chance to combine

more money is showered on the new couple."

dollars on the floor at the end of the song, depending on the size of the groom dances a full turn around the floor and more money is thrown.

my two great passions."

Opa! The Greek Way of Celebrating Marcopulos describes what sets Greek weddings apart from American weddings: "In an American wedding, typically after the ceremony at the church, the wedding party and guests move to the reception site.

After the cocktail hour, we do the formalities: introductions, prayers, speeches—and then dinner is served. After dinner, the bride and groom share their first dance together, followed by the father of the bride and his daughter, the mother of the groom and her son, and finally a slow song for the entire bridal party. Once those dances are completed, then the floor opens for everyone to dance.

Maintaining Musical Traditions After all the described festivities, dancing continues, to traditional styles of Greek music called Syrto, Kalamatiyana or Tsamiko. "The style of Greek music chosen by the newlyweds is usually determined by the ancestral region of the families involved," Marcopulos explains. Greek dance music is usually played for up to an hour and then American music is played, although once in a while they are asked to play all Greek music for the entire evening. "It's the choice of the bride and groom. And, of course, today there are a lot of mixed weddings: GreekAmerican, Greek-Polish, Greek-Italian, Greek-Irish, etc., so we try to be very creative in our selection." Because of their success in mixing ethnic traditions and music with American traditions, Marcopulos and Samiotakis, along with their other DJs, now do all types of ethnic weddings: Portuguese, Russian, Hungarian, and Puerto Rican to name a few. "We are booked almost every weekend," he said proudly, "And have been for 12 years now."

So, are wedding scenes in My Big Fat Greek Wedding really accurate? "Pretty much, in my experience," Marcopulos laughs. "But I've never seen a garage door painted with a Greek flag." • For more information on John Marcopulos and George Samiotakis and DJ's Inc./Alpha Tunes, check out www.dj-s.net.

g Fat Hellenic Sound

"At Greek weddings, the bridal party is typically twice the size of an American one. Instead of five to seven couples, a Greek wedding party can consist of 10 or more couples. In addition to the usual best man, there is a Koumbaro, a Koumbara, or both. The Koumbaro is a male spiritual sponsor; the Koumbara a female spiritual sponsor.

"At the reception, introductions and speeches are made, in both Greek and English, before dinner. The first song that is played at the start of the wedding dinner is a traditional Greek song called 'Simera Gamos Ginete' (Today a Wedding Is Happening 1 ). During dinner, Greek instrumental and American music is played.

"After dinner, the bride and groom share their first dance together as husband and wife, and then the bride and her father share a dance, followed by the groom's mother and her son—just like at an American wedding. At this point, a very traditional Greek song is played called: 'Orea Poune E Niphee Mas' ('How Beautiful Our Bride Is'). As it is played, the entire bridal party forms a large half circle on the dance

DJ's Inc./Alpha Tunes partial equipment list: 10 Bag End S21-E subwoofers 8 Bag End S18-E subwoofers 2 Bag End Quartz-R quad-18 subwoofers 8 Bag End Opal-R full-range loudspeakers 4 Bag End Crystal-R full-range loudspeakers 2 MTX 500 Pro club mixers 10 Denon DN9000 dual CD players 2 beyerdynamic microphones 14 Martin intelligent lighting fixtures 2 Abstract intelligent lighting fixtures 10 Crown Macro Tech 2400 series 2 Crown K2 power amplifiers 2 Powersoft Digam Q-Series amplifiers 2 Furman AR 1220 voltage regulators 4 Furman AR 1215 voltage regulators 10 Ultimate Support speaker stands

floor and the bride leads the dance. We ask the guests, in both Greek www.mobilebeat.com

January 2005

51

Nevada DJ tells his story of professionalism and serendipity

"The Call"

Every DJ Dreams Of L-R: Dick and Kari Clark, Selly and Larry Williams By

Larry

Williams

M

any are aware that being a mobile disc jockey goes far beyond entertainment itself. It also means being a representative of an industry that must continually prove itself in the eyes of the public. Besides approaching every performance with care, I have also made it a point to treat every audience member with the same level of dignity and respect. Understandably, though, there are times when we become so consumed with the job at hand that we may not give each guest who approaches us the amount of time and consideration that they are expecting. You might want to keep my story in mind, the next time you're feeling performance stress.

You Never Know Who's Watching

Kari Clark were extremely memorable. For years I had patterned my DJ presentation after the professional style that has been Dick darks' trademark for so many years.

Relationship Revelation

A few months after that event, I found myself at the home of my friend Rob. We were talking one evening when suddenly he asked me to take a look at something. He showed me a photograph of him with Dick and Kari Clark. Naturally, I was taken aback and replied, "Wow, you've met Dick Clark too!" to which he replied, "Well, I am just a little bit closer than that!" Rob proceeded to tell me that Kari was his sister and Dick was his brother-in-law.

Needless to say, I was speechless. As well as I had known Rob, he still had not shared that interesting aspect of his family history.

My story could have ended right there...but things would only get better. A few months later I received a letter in the mailâ&#x20AC;&#x201D;from Dick Clark. Apparently Rob had spoken very highly of me to his brotherin-law. In the letter, Dick congratulated me on my "professional approach" to handling my business.

Overtime, I exchanged several correspondences with Dick. By 2003,1 was still enjoying an ongoing postal conversation with my DJ hero, when, suddenly, I got "the call." Rob informed me that he was getting married and that he would like me to personally handle the musical responsibilities for his wedding and reception. I was about to DJ an event for the family of Dick Clark!

In 1995, an audience member single-handedly brought my DJ career to an unexpectedly higher level. While performing at a rather routine outdoor event, I was approached by a pleasant gentleman who complimented me and gave me his business card. He was a local businessman in the small northern Nevada town where I was a radio DJ during the weekdays. His name was Rob and we struck up a friendship that has continued to this day. Over the ensuing months, Rob and I got to know each other quite well. He also got to see and understand the level of dedication that I placed upon my performances with my DJ company.

Towards the end of 1996, I had the wonderful opportunity to be part of the local media invited to cover a new show appearing at one of our casino resort hotels. I was very excited to learn that legendary disc jockey Dick Clark would be on hand for this event. Family Celebration The evening went well and the few minutes I spent with Dick and The wedding ceremony took place on a picture perfect day with the

52

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January 2005

majestic Sierra Nevada Mountains as a backdrop. The parklike setting was complete with a beautiful, rustic pavilion, ball playing, horseshoe throwing, and barbecue. The reception was an intimate family celebration with only a few dozen people in attendance. It included all of the traditional wedding-related activities and announcements.

The day's festivities progressed smoothly and lasted well into the evening. A highlight of the event was a surprise toasting and introduction "on the mic" by Dick himself. It was especially enjoyable to see Dick and Kari with their extended family that included nephews, brothers, sisters and in-laws. To be included within this intimate setting of close family and friends was an unbelievably rewarding experience that I will never forget.

Putting Performance in Perspective The level of trust placed upon me by the members of Dick Clark's family was an honor above measure. I never lose sight of how extremely fortunate I was to be placed in that situation. I also look back on that chance meeting in 1995 and realize that the slightest change in my demeanor could have altered the positive direction of my career.

As DJs, we need to be increasingly cognizant of how we project ourselves. Often times our demeanor becomes as important as our talent. To turn public perception in our favor, we must approach our craft in the fashion of those before us who have left their indelible mark on the profession. For decades, Dick Clark has set a standard of appropriate and professional behavior that never waivers, tarnishes or goes out of style.

If I had one wish for the DJ community, it would be for a return to the standards of conduct that once held our industry in such high esteem. Although the circumstances surrounding "the call" that I received may have been unique, the premise of improving your reputation and increasing sales by way of positive contact with audience members is universally applicable. Those are the calls every DJ dreams of!Âť Since 1990, Larry Williams has owned The Reno Tahoe DJ Company. He is a member of the American Disc Jockey Association and has served four years as President of the Nevada Disc Jockey Association.

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www.mobilebeat.com

January 2005

53

CLUB VIEW

uffnek transmits creative energy from he club booth to the concert stage

on stage

D

By

J Ruffnek has been in the DJ game for most of his life. He started his career at the age of 12 with a passion for music. His first gig was at a local high school in Southern California and he hasn't looked back since. His talents were so apparent at an early age that he began playing nightclubs, even though he wasn't old enough to be in the bar.

The DJ/producers of the late '80s were his biggest influences: Jazzy Jeff, Cash Money, Terminator X (Public Enemy), Mix Master Mike and Jam Master J. More recently, Qbert has been a significant influence.

He has been a club DJ for many years, but his love of performing with a live band has led DJ Ruffnek to make the tough move from club to stage. His band Slapbak is playing all over, yet he is still firmly entrenched in the club music culture. We caught up with him between tour dates...

Mobile Beat: How did you get started?

DJ Ruffnek: I would buy mixed tapes from a guy at school. He finally said to just show up at his place and I started practicing and making my own tapes and mixes. We later became partners from '86 until '91, doing parties, clubs, mobiles, etc.

MB: What was your first DJ gig?

DJ R: My first gig was a high school dance in '86. I was in the 8th grade. However, I did numerous 21-and-over clubs in Orange County, California. I would sneak in through the kitchen with my headphones, records and a crate to stand on! Then I would be kindly escorted out after my set...I eventually became the headliner at these clubs—at 12 years old!

54

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January 2005

David

Kreiner

MB: What inspires your musical ideas?

DJ R: I think all music is inspired by our emotions. I like to work on numerous projects at all times and they range from poppin 1 , funky grooves to anger-infested hard rock. Listening to all kinds of music also gets my imagination going. I try to incorporate and fuse different styles together.

MB: What type of equipment do you use live?

DJ R: I use two different rigs. Right now, with all the traveling and various live stages, I use this rig: two pairs of Pioneer SE-DJ5000 headphones (I always have a backup); an Akai MPC2000XL sampler (maxed out with RAM and an internal Zip 250 drive—upgraded it myself to save cash!); a Technics SL-DZ1200 Digital Turntable (used to scratch ambient sounds and drums as percussive layers); a Vestax PMC-05 Pro III (with plenty of extra replacement switches and faders); a Roland Octopad (to trigger the sampler as a percussion instrument, adding layers of instruments to the music, rather than just playing loops); and finally, Mo-FX, Filter Factory and Warp Factory effect boxes from Electrix, with foot pedals to trigger effects.

MB: Do you still use turntables or CD players only?

DJ R: I can do just about anything on the digital turntable—except when I went nuts and broke vinyl at gigs...and then kept scratching on it. But I still love my tables. I use the turntables in the studio, but it's easier to use the CD players live because of skipping problems with the tables, especially on a concert stage with all the ambient bass...

Listening to all kinds of music also gets my imagination going. I try to incorporate and fuse different styles together.

MB: What is your favorite type of music?

DJ R: I guess you could say hip-hop, but my musical tastes are varied. I mean, my musical influences include Jimmy Hendrix, Led Zeppelin, Pink Floyd, Bob Marley, Public Enemy, Ice Cube, Run DMC, Ice-T, Herbie Hancock, Nina Simone, Rob Zombie and Rage Against the Machine to name a few. How's that for a melting pot?

MB: You went out with Snoop Dog last year. What was the Snoop tour MB: What type of equipment do you use in your studio?

like?

DJ R: Same as above, but in addition: an Apple PowerBook (1.25 GHz) with 1 GB of RAM, and 80 GB hard drive and a Superdrive; a

DJ R: Very fun, to say the least. We toured the Midwest for nine days.

Vestax PMC-05 Pro II; two black Technics SL-1200M3D turntables

our a***s off, as it was in December, but it was worthwhile. We played

(upgraded with Stanton's Vinyl Touch kit—blue LEDs and instant

various venues that ranged from 3,000 to 10,000 people.

Snoop had his tour buses and we had a 15-passenger van! We froze

reverse); a Roland MC-505 drum machine; two external Firewire 120 GB drives; another Electrix Filter Factory (to filter keyboards,

MB: What was working with Digital Underground like?

drums and scratches); and an Electrix Warp Factory (vocoder voice

DJ R: They are definitely crazy, yet very down to earth. Shock-G is very

effect). I love the Electrix products. Too bad they discontinued the

mellow, Money-B is funny, and DJ Fuze is very laid back. We've played

whole line—but there's always eBay!

quite a few gigs and everyone in their camp has been cool to hang out with. Well, almost everyone. I mean, Humpty is just plain nuts! There's

MB: Do you use your Mac laptop at gigs?

something wrong with that boy. That's all I can say about him.

DJ R: Not yet. I plan on eventually incorporating the laptop in the show for extra samples and keyboard modules. I would like to try

MB: What other artists have you worked with?

Rane and Serato's Scratch Live software. I was really impressed at

DJ R: Fishbone, Lakeside, The Luniz, Arrested Development, Zapp,

the NAMM show a few years back when I first saw it. It had very low

Ohio Players, Slave, The Time, The Dazz Band, Living Colour, Brides of

latency and is supposed to be 100% Macintosh OSX compatible.

Funkenstein, various members of Parliament/Funkadelic.

Rane and Serato reps, if you're listening, bring on the sponsorships!

HINT, HINT!

MB: What production work have you done?

DJ R: Various vinyl remixes for Promowax: Fat Wax, Reruns, EPT.

MB; What type of software do you use now?

DJ R: For all my remixes and recordings I use Logic Audio Platinum.

MB: What is in the future for DJ Ruffnek?

I am getting ready to upgrade to Logic Pro 7 very soon. Logic has

DJ R: Slapbak is putting finishing touches on the new CD and I am also

unlimited tracks and great plug-in effects. Matter of fact, on six of

working on a side project with various people. It's just something we're

the tracks on the new Slapbak album (coming out early next year) I

playing with, more on the edgier rock side.

recorded my parts without leaving my house! I got the almost-final versions of each track and added a few tracks worth of spice, sent

MB: Where can people see you perform, and how can they find out

them back and BAM! Apple reps, if you're listening...again, HINT,

more about you?

HINT!

DJ R: We perform in Los Angeles quite a bit, but we're planning an "urban assault" on the rest of the U.S. next year, as well as some more European dates, like the ones we had this year. (Paris, Holland,

MB: Where do you get your ideas?

DJ R: It depends on what I'm doing at the time. I try to steer away

Germany, etc.) Our calendars are up on both Web sites: www.slapbak.

from the usual sounds and beats and create my own. I approach

com and my site www.djruffnek.com.

every song differently. I try to use sounds that haven't been used, like rain sounds and ambient sounds that aren't necessarily

MB: Any final words for our readers?

musical. Just like Timbaland used a baby sighing in a song, I try to

DJ R: Keep those tables (digital or analog) turning and experiment with

use obscure stuff like the ping of a submarine's sonar, etc.

effects and sounds you normally wouldn't. You'd be surprised what you come up with! •

MB: Who are some of your favorites?

DJ R: I really like the production work of Timbaland, Kanye West

Dave Kreiner is the owner of The Source DJ Music Supply. Surf/shop at

and Rob Zombie.

www. thesourceformusic. com.

www.mobilebeat.com

January 2005

55

SONG STORY

usical Makeoven

A Look at Cover TUnes Putting new clothes on old favorites can make them fresh for the latest generation By

Dan

T

Walsh

he music industry is known for squeezing every last penny out of a hit song.

One method of recycling music for further profit is "covering" a song.

This is when an artist or band simply takes a previously recorded song and performs or records it in their own style. Often called

"remakes," these songs usually stick a lot closer to the original than remakes of movies ever do. But, just like remade movies, covers of hit songs do a lot more than just put extra money in a record company's bank account.

Why Covers?

With the advent of recorded music, along with radio and venues where listeners could hear recordings of popular songs, it soon became common practice for artists to rerecord already successful songs in

order to get a "piece of the action."

Starting in the 1950s, as African American R&B music increasingly influenced mainstream pop, white artists would redo R&B favorites in a "more acceptable" style, again, facilitating the obvious record company objective of generating a new profit stream.

Of course, there are other reasons for cover songs besides the bottom line. Many artists do covers as homages to their own musical heroes. Most artists start out by performing other people's

music and that music can have a formative impact on the artist's style. Later, after achieving some industry success, an artist feels the need to pay respect to his or her early influences. A good example of this is the recent soundtrack from the movie / Am Sam, which features Beatles songs covered by contemporary artists. (Incidently, this album does not include the song considered by most accounts to be the most covered song ever: "Yesterday." It has been redone more than 3,000 times.) Other

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56

www.mobilebeat.com

January 2005

examples of songs by artists with

mind. A more recent example

cover tune illustrated the idea

with the challenge of a multi-

styles similar to the artist they are

would be Madonna's ill-advised

of connecting genres, and also

generational event. Simply playing

covering include 10,000 Maniacs'

remake, in 2000, of Don McLean's

showed

1996 version of the Patti Smith

"American Pie" (1971).

combination

Group's 1978 rock hit, "Because

A good example of a cover that captured the spirit of the

audience's fancy.

the Night," and the Fugees' remake of "No Woman, No Cry" by reggae

original while also translating it into

Ant Farm transformed Michael

master Bob Marley.

the musical language of its time is Van Halen's version of "Dancing in

Jackson's

floor. If you want to really get creative, experiment with mixing

very

the two versions together. Segue

Everybody Get Together

the Street." Showing how a great

alien from the original. It was

from one to the other, or use the

One of the most important aspects

song can transcend specifics of

"a funky metal mix of Michael

EQ cut controls on your mixer,

of cover tunes, in my opinion,

time and place, Eddie and the

Jackson's original song and pop

combined with your beat-mixing

is their power to create new

boys took Martha & the Vandellas'

kids of the TRL generation loved

skills, to layer the old over the

unexpected

a popular remake, or playing the

catch

the

original version of a current hit

In 2001, an

cover tune can bring together

alternative/metal band called Alien

different age groups on the dance

Criminal,"

how

an can

1987

hit,

"Smooth

into something

connections between generations

1964 hit and reincarnated its big,

it" (AMG Allmusic Guide, www.

new. (Typically, the newer version

of people and different genres

brassy Motown feel in their guitar-

allmusic.com). When done with

will have the more thumping low

of music. In many cases a cover

driven, party rock sound. In 1982,

skill, a startling juxtaposition of

end that modern dancers are

tune exposes a great song from

I would venture that a parent who

genres can result in something

accustomed to.)

a previous era to a new group of

lived through the '60s might have

fresh and fun.

listeners.

smiled

(before shouting,

"Turn

In your never-ending quest for ways to create musical excitement

Sometimes the distance in

it down!") when he or she heard

Tunes You Can Use

time and styles is a bit of a stretch.

something familiar emanating from

Given the innate ability of well

The 1983 synthpop version of

a teenager's room.

executed cover tunes to bring

add to your bag. When you need

different musical worlds together,

to cater to many age groups at

the 1930 Irving Berlin film classic

at your events, the inventive use of cover tunes is one more trick to

"Puttin 1 on the Ritz" by a one-hit-

Surprise Me

Mobile DJs can make good use

once, you'll be able to say, "Gotcha

wonder named Taco comes to

More recently, a somewhat odd

of them, especially when met

covered I" •

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January 2005

57

MUSIC IN MC)

r conquering Detroit

itvthe

• •••• J Jackie 'Christie began her career -* much like many other DJs. As a i teenager, she started spinning high school dances, bar mitzvahs and parties. She soon realized that she wanted to take a step beyond playing at the party.:.she wanted to be the party! After landing a gig on a radio station in Detroit (her hometown), she kicked into high<gear. She began hearing the call of New Yopk'Gity clubs and couldn't resist—after all it was the early '90s and she .-was already growing out of Detroit. The questi'on was, would* NYC take her in as energetically as Detroit or would she sink like many hopeful DJs beifore* her. The latter just wasn't an option.

•" ,. ?i -DJ Jackie Christie relocated to^MYC and immediately fell in with the biggest dance music names of the day, like Frankie Bones and Danny Terrpglia. She then DJ'd everywhere

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January 2005

.STS£OI

We all have someone we feel that way about, someone who has made a difference in our lives under the sun and has been at the forefront of dance and club music, most specifically, house music. It only makes sense—Jackie cut her DJ teeth on that very unique, underground sound known as Detroit House.

By 1997 she was playing many clubs and had residencies at all the biggest clubs in New York, such as The Limelight and The Tunnel.

She even worked the 'tables at the infamous Studio 54. All the exposure made her a fullfledged superstar and catapulted her career into the stratosphere. Due to her involvement in the thriving 1990s underground dance scene, she was invited to be the resident DJ on the hottest MTV dance show ever, The Grind.

With the release of her latest full-length dance record, Made 4 U, DJ Jackie Christie has risen to a new level of superstardom. The album's opening track, "Beautiful Day," is a feel­ good anthem featuring label mates, Discomind.

It is an ode to her friends and lovers and family

that will make anyone get up and move, and it is poised for chart success. Reflecting on the key to her musical accomplishments, Christie says, "The lyrics of my single, 'Beautiful Day,' sum up my philosophy: There are people in your life that can lift you up so high / and even when you're wrong, they're still standing by your side...It's a beautiful day with you in my life!' We all have someone we feel that way about, someone who has made a difference in our lives. My amazing audiences have made DJ Jackie Christie, and this is exactly how I feel about them. They keep me

positive, make me want to do more and never stop."

Whether DJing, mixing, remixing, producing or hosting, DJ Jackie Christie is always at the top of her game...that puts her firmly in the night sky, shining for all to see. •

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January 2005

59

SET LIST

High-Energy Eighties Welcome back to the place where what's old to you is new to me. We recycle your proven set lists and repackage them to your fellow Mobile DJs all shinny and new!

This time we are going back to the '80sâ&#x20AC;&#x201D; you know, those special years with big-haired ladies, parachute pants, cuffed jeans, sweaters tucked in...and movies like The Breakfast Club, Sixteen Candles, Weird Science, Fast Times at Ridgemont High, and, of course, Back to the Future.

MTV was fresh and new...and they actually played videos. Pop music was heavy on synthesizers and electronic beats and most of us now ask the question, "What were we thinking?"

Our set this month begins with one of the greatest '80s acts there ever was: Stuart Leslie Goddard. "Who?" I hear you say. Well, I guess you would know him by his stage name, Adam Ant. (There's a great '80s trivia question to work into your gig.) We start off with one of his biggest hits...

Start GOODY TWO SHOES right from the beginning, maybe asking for the answer to that question! Let the whole song play to the drum beats at the very end and then slam into the next all-time '80s classic by "one hit wonder" band, Dexy's Midnight Runners. You guessed it: COME ON EILEEN. Cue up past the violin

and start directly at the first beat. Next, go into 99 RED BALLOONS by Nena. I prefer the English version. Cue it up to the opening beat past the intro vocals and slam it in at the break in COME ON EILEEN just before the slow verse, where they chant, "come on Eileen toora 100 rye aye..."

Get ready to slam into MICKEY (Toni Basil), cueing it to the very first beat and slamming it in at the break in 99 RED BALLOONS just

before the song breaks down to nothing and Nena sings a cappella. I usually let MICKEY play just about all the way through and beat mix out into WE GOT THE BEAT from The Go-Go's. Let WE GOT THE BEAT play all the way to the very end, with the girls singing the title of the song. Next go into what will probably be one of the best songs of the night (at least up in my neck of the woods) BLISTER IN THE SUN by the Violent Femmes. Our final song wraps things up very nicely, and even though

With your host, Ron Carpenito

it came out in 1993, it fits very well with the set.

The song is LAID by James. On this one, you'll want to cue it up as best as you can to the initial drum roll past the slow guitar intro.

You slam this in after the final drum beats in BLISTER IN THE SUN. Let LAID play all the way through. It has a very nice highenergy ending, at which point you can switch to something different.

You now have a great seven-song, 25minute '80s set that should keep the energy on the dance floor with minimal beat-mixing skills needed. This is one of my best sets of all time, and I'd really love to hear some of yours (especially '80s sets). So if you've got a really great one, please share it with your fellow DJs in coming issues! Send it to me, Ron Carpenito at ron@djroncarpenito.com or to our editor Dan Walsh, at dwalsh@mobilebeat.com Thanks again, and remember...Play the best music, mix it well, and they WILL dance!

High-Energy Eighties Take It with You Goody Two Shoes Come On Eileen 99 Red Balloons Mickey We Got the Beat Blister in the Sun Laid

60

www.mobilebeat.com

January 2005

ADAM ANT DEXY'S MIDNIGHT RUNNERS NENA TONI BASIL GO-GO'S VIOLENT FEMMES JAMES

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REMIX REPORT

Radio hits galore, remixed to pack your dance floor...

in Here

By Dave Kreiner

H

ere are some killer remix compilations that are sure to make your parties heat up those long winter nights.

Pure as the driven snow, many of these are extreme足 ly programmable, clean, extended versions.

FUNKYMIX 79 is a fresh hip-hop/R&B remix collection from Ultimix, featuring extended intros and outros for sustained dance programming. Getting the set started is the latest from Lil' Flip (featuring Lea), "Sunshine," at 94 BPM. This super-clean remix from DJ 2nd Nature will get your dance floor started, no matter what time of night you program it. "Moments of Love" by Art of Noise is the playful backdrop for "Freaks" from Play-N-Skillz.

This 138-BPM, electro-inspired booty remix features Krayzie Bones and Adina Howard, and will get the floor pumped up dur足 ing late-night sets. Lloyd Banks (with Eminem and 50 Cent) gets a killer remix of "Warrior, Part 2" at 86 BPM. This is the musthave remix of this hit. With P. Diddy and Dirtbag along for the ride, Tony Sunshine gets the hip-hop vibe going strong on "Oh My God" (105 BPM). This is a great late-night song with tons of energy and R&B vocals. "So Sexy" from Twista (featuring R. Kelly) gets the booty beats going strong at 138 BPM. This higher BPM count works really well, making this the version I would play after 11 PM. Slum Village has a sweet R&B-influenced radio hit with "Selfish" (featuring Kanye West and John Legend) at 96 BPM. It's nice to have a smoothed out remix of this hit. And speaking of radio hits, Young Buck's "Let Me In" is a huge one (91 BPM). This remix from Dave Jackson is the essential ver足 sion to have. Closing out the set is "Vibrate" from Petey Pablo at 111 BPM. DJ 2nd Nature turns out a sweet remix in the muchneeded over-110 BPM range. This Dirty South hit will make your floor quake!

If you're looking for a well rounded remix service, then make sure you check out Select Mix. They feature hot, extended ver足 sions of rock, dance, hip-hop and R&B hits, including intros and outros as well as bonus instrumental loops at the end of each

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issue. SELECT MIX 5 starts off with modern rockers Switchfoot on "Meant to Live" at 83 BPM. Killer drums and a thick rock bass line drive this mix. A definite winner for your alternative rock fans. Radio favorite Kanye West is up next with the huge hit, "Jesus Walks" (88 BPM). An uncluttered drum intro and a very usable overall mix make it a great set-starter. MTV darling Ashlee Simpson follows with her slow, sexy radio hit, "Pieces of Me" at a sultry 88 BPM. Good track but a little too slow to dance to. "Locked Up" by Akon (featuring Styles) gets the beats going again at 90 BPM. The song is getting lots of airplay and this clean version will make it easier to program. Young Buck keeps the hip-hop vibe going on "Let Me In" with a crisp 91BPM Timbaland vibe. Lil' Flip's "Sunshine" (featuring Lea) gets another standout remix here (94 BPM). Hits on the radio don't get much bigger than "Lean Back" (95 BPM) by Terror Squad.

A super-clean intro and slimmed-down instrumentation make for a killer remix. Next, LL Cool J is at the top of his game on "Headsprung," with his trademark raps and a strong 100-BPM remix. At 102 BPM, "Goodies" by Ciara (with Petey Pablo) is a very usable remix and is a great set starter after 10 PM. Rockers Maroon 5 reveal their sensitive side with "She Will Be Loved" (102 BPM).

My favorite song on the set is "Let's Get It Started" (105 BPM) by Black Eyed Peas. This is the song from those new Apple commercials and is one of the best remixes on the set.

This band's unique blend of rock, hip-hop and funk elements makes them one of the better bands out there, in my humble opinion. A killer drum and conga drum beat gets Britney Spears' latest, "Outrageous," going at 105 BPM. Is it my imagination, or are all her songs starting to sound the same? Use this one for the teeny-boppers only! This set is full of radio hits and "Turn Me On" from Kevin Lyttle (106.5 BPM) is no exception. This soca, dancehall and R&B-influenced joint is remixed very well and will work in a wide variety of sets. Closing out the collection is Twista (featuring R. Kelly) on "So Sexy," at a speedy 144 BPM. This excellent remix is just the kind of high-tempo song that many DJs are screaming for.

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Kicking off ULTIMIX 107 is a ffmmlhyimflss ff3> housed-up version of Kevin Lyttle's "Turn Me On," at a groovy 128 BPM. This remix kills with a huge drum track/synth bass combina­ M -frifll tion, and soca/dancehall raps all BPUlAi \J*^ REVHXESDONeraCHT || over the place. Newcomers Los ^S__i' if7^ W i Lkl4WH ^^^^Bl___l Lonely Boys have a huge crossover •fcre^S^_ V --V lv\^J^^^H^H HHMRHiilll^l hit with "Heaven." At 92 BPM, it's Bfeti^S -^^7^ •aii^^^^^^H ^^^^^^^^^H a yreal sel-slarter that works well JMBBi^Mii with old and young crowds alike.

Excellent for wedding receptions 94 I Sunshine LIL' FLIP feat. LEA and other parties. 13-year-old Jo Jo 138 PLAY-N-SKILLZ feat. KRAYZIE BONES, ADINA HOWARD Freaks has hit it big with "Leave (Get Out)."

86 LLOYD BANKS feat. EMINEM, 50 CENT Warrior, Part 2 This one is a teenager's dream 105 TONY SUNSHINE feat. P. DIDDY, DIRTBAG Oh My God song and the 87-BPM remix will 138 TWISTAfeat. R. KELLY So Sexy make it very easy to program. The 96 SLUM VILLAGE feat.

KANYE WEST, JOHN LEGEND Selfish latest from Janet Jackson, "All Nite 91 Let Me In YOUNG BUCK (Don't Stop)," gets a sweet house remix (126 BPM). Its strong drum 1 11 Vibrate PETEY PABLO track will keep the floor packed dur­ SELECT-MIX'S ing your late-night sets. "Pieces of 83 SWITCHFOOT Meant to Live Me" from Ashlee Simpson gets a 88 KANYE WEST nice drum intro and a stripped down Jesus Walks 88 ASHLEE SIMPSON Pieces of Me remix (87 BPM) that makes this awkward song easier to program.

90 AKON feat. STYLES Locked Up By the time the chorus comes 91 YOUNG BUCK Let Me In around, the remix is working hard.

94 LIL' FLIP feat. LEA Sunshine Next up is Mynt (featuring Kim 95 TERROR SQUAD Lean Back Sozzi) with "How Did You Know" 100 LLCOOLJ Headsprung at 128 BPM. This is really a side 102 ClARAfeat. PETEY PABLO Goodies project by production team Al B. 102 She Will Be Loved MAROON 5 Rich. They got club siren Kim Sozzi to round out this progressive house 105 BLACK EYED PEAS Let's Get It Started remake of a recent chart-topper 105 BRITNEY SPEARS Outrageous from Curtis Mantronik. This is a 106.5 KEVIN LYTTLE Turn Me On great late night song. Petey Pablo's 144 TWISTAfeat. R. KELLY So Sexy smash "Freek-A-Leek" gets a little Bonus Loops: booty vibe going (128 BPM) in a 88 Jesus Walks - Loop unique remix that is a must-have 90 track for late-night dance sessions.

Locked Up - Loop Closing out this Ultimix release, 102 She Will Be Loved - Loop Digital Rockers bring a remake 105 Outrageous - Loop of Stevie B's slow jam "Because I Love You"— at a smoking, trancey ^^^^™ • 128 KEVIN LYTTLE Turn Me On 140 BPM! Your dancers' faces will 92 LOS LONELY BOYS light up when they hear the chorus Heaven and they'll say "Hey, I remember 87 JO JO Leave (Get Out) this song!"* 126 JANET JACKSON All Nite (Don't Stop)

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jmprMr TT

^•^^^^•K

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'ULTIMIX 10 """""""

All CDs reviewed here are available at www.thesourceformusic.com.

Call The Source at 800-775-3472 for a free catalog.

Pieces of Me

•

87

ASHLEE SIMPSON

How Did You Know

MYNT feat. KIM SOZZI

128

Freek-A-Leek

PETEY PABLO

128

Because I Love You

DIGITAL ROCKERS

140

www.mobilebeat.com

January 2005

63

PSWCDT!

(PLAY SOMETHING WE CAN DRESS TO!)

W

hether you are preparing for a first date with someone new, or a night on the town with your spouse, part of the occasion is finding the right clothes to wear. Women may think that it's easy for a guy to pick out his clothes. But when we dress to impress, many of us truly believe that "clothes make the man." Of course any man who has been married for a while knows that it's more difficult for women to find just the right clothes for a special event. Even with a closet full of clothes, my wife will often exclaim, "I don't have anything to wear." Years ago, I learned that it wasn't that my wife had poor eyesight, she simply was saying that nothing in the closet was appropriate for the occasion.

It's amazing to me how much time a bride will take to find just the right bridal gown. Each weekend, about the only thing I notice is the colorâ&#x20AC;&#x201D;white. This characteristic makes it easy for me to pick out the bride, even in a crowd. The groom, on the other hand, is in a tux, along with a half-dozen other men, making it much more difficult to double check that the couple is in the room prior to announcing an event like the cake cutting. For most grooms picking out the tux takes only one afternoonâ&#x20AC;&#x201D;usually one hour, two hours, tops. For a bride though, she will sit through a bridal fashion show and take notes. Then go to several bridal shops in town, shop on line, and invest in several bridal magazines just to pick out the right bridal gown (white, of course). Recently, a photographer friend of mine said that I should update my Web site because when he showed it to a recent bride, she told him that the pictures were outdated. She said, "That dress was in style in 1998, that one in 2001..." etc. Now, that's a bride who knows her wedding dresses.

Appropriate Attire

As mobile disc jockeys, we too should take the time to consider how we dress. As I talk to potential clients, especially brides, they tell me horror stories of how they went to a formal wedding reception and the DJ wore blue jeans. They make sure that we understand the importance of dressing to fit their wishes. To assure them, we tell them that on our contracts, we have a place for the client to indicate how they want us to dress.

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Though a tuxedo is the standard dress for a wedding, often the bride and groom will prefer that we dress in only a coat and tie. They may actually be planning on a very informal event—a barbeque or backyard-style gathering, for instance.

While being underdressed for an event is a critical mistake, dressing better that the groom can also make you feel quite uncomfortable. Years ago, prior to having the requested dress on the contract, I wore my tux...and the groom wore shorts and a ball cap. Needless to say, I had missed the part about it being a casual, "drop-in" reception. Regardless of what you wear, make sure that it's neat and well-pressed, and that your shoes are shined.

Don't Go to Work Naked One of the most important things that you should wear isn't even found in the closet or drawer: it's your smile. I would rather forget my socks than forget my smile. I confess that there are times when I leave the house with a concern on my mind, a headache, or I'm just plain tired, and the last thing I want to do is smile. But, just as it's illegal to run through the streets naked, it should be a crime for a DJ to perform without wearing a smile. Your smile signals that you are there to make everyone else happy. During a show, at a bridal fair, at a face-to-face consultation, and on the phone, a smile is necessary attire. Yes, I wear a smile even when I answer the phone! Many brides have told me that they booked my services because I sounded "so happy on the phone." I might have been wearing pajamas when I talked with them, but they only knew that I was wearing a smile.

Fashionable Tunes Several of the songs in this issue's list are great dance songs. "Men in Black" is often requested for the groomsmen. Since 1987, men have requested Chris DeBurgh's "Lady in Red" as a special dedication for a lady who was wearing—you guessed it—red. Other color specific songs are "Blue Velvet," "A White Sport Coat," "Long Cool Woman in a Black Dress," and "Devil With a Blue Dress On." I always question a guy when he wants to dedicate "Devil With

SONG TITLE

ARTIST

YEAR

1 2 3 4

FRANK SINATRA CHRIS DEBURQH THE HOLLIES HITCH RYDER & THE DETROIT WHEELS WILL SMITH ZZTOP NEIL DIAMOND MELMCDANIEL FRANK SINATRA MADONNA BILLY JOEL MARTY ROBBINS PRINCE BOBBY VINTON PRINCE CHERRY POPPIN' DADDIES STEVIE NICKS & DON HENLEY CAKE LORRIE MORGAN ROXETTE

1964 1987 1972 1966 1997 1983 1979 1986 1964 1985 1983 1967 1986 1963 1987 1998 1981 2001 1992 1989

The Way You Look Tonight Lady in Red Long Cool Woman in a Black Ores* Devil With a Blue Dress On

5

Men in Black

6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Sharp Dressed Man Forever in Blue Jeans Baby's Got Her Blue Jeans On All I Need Is the Girl Dress You Up It's Still Rock and Roll to Me A White Sport Coat (And a Pink Carnation) Raspberry Beret Blue Velvet U Got the Look Zoot Suit Riot Leather and Lace Short Skirt Long Jacket Something in Red Dressed for Success

FUM FASHIONS__________________ 1 Cheap Sunglasses 2 Future's So Bright, I Gotta Wear Shades 3 Short Shorts 4 ItsyBitsyTeenle Weenie Yellow Polka-dot Bikini 5 Rhinestone Cowboy

ZZ TOP TIMBUK3 ROYAL TEENS BRIAN HYLAND GLENN CAMPBELL

WALK A MILE IN THESE_______________________________

1 2 3 4 5

Blue Suede Shoes Boogie Shoes Diamonds on the Soles of Her Shoes Hi-Heel Sneakers Those Shoes

CARL PERKINS KC & THE SUNSHINE BAND PAUL SIMON TOMMY TUCKER EAGLES

YOU'RE MEVEP FULLY DRESSED WITHOUT..

1 2 3 4 5

Smile Keep On Smilin' Your Smiling Face Wink and a Smile Just to See You Smile

RODSTEWART WETWILLIE JAMES TAYLOR HARRY CONNICK JR. TIM MCGRAW

a Blue Dress On" to a particular lady. Hey buddy, is she cool with being referred to as a devil? Just kidding!

Clothes make a statement about who you are. Before you speak or shake hands with someone, they see you and form an image based on what you are wearing and how you look. Do you have "the look" they were expecting? The opening lines of Billy Joel's, "It's Still Rock and Roll to Me" stress

1993 1996

the importance of what you wear, "What's the matter with the clothes I'm wearing? / Can't you tell that your tie's too wide? / Maybe I should buy some old tab collars?" But, we all know that though the clothes we wear might make the opening statement about who we are, at that point, our job is just beginning.

Never forget that the real "D" in PSWCDT is for DANCE.*

www.mobilebeat.com

January 2005

65

Hits!...

To the End of Time

MUSIC NEWS By

For more information or availability on any of the CDs in this Music News column visit www.HitMusicb2b.com or call A.V.C. Sebastian

at 973-731-5290

Fred

Sebastian

Do you ever wonder how long it would take to play every song ever recorded back to back? Me neither. When it comes to finding those specific songs, though, it is nice to come across great compilations that take the guesswork out of finding yesterday's top tunes. This time around, I've got a few more that'll do just that.

In a day when many people complain that there's no good music being made, there's plenty of comfort in revisiting the huge legacy of yesterday's musical treasures. And there are a lot of yesterdays to choose from. Of course, looking back means acknowledging that for some people, yesterday also meant polyester jumpsuits. No, there isn't one style that suits all, but at least there is the measure of the music charts to help ensure that these compilations revisit tunes with wide appeal.

Speaking of polyester jumpsuits, this double-CD collection is the perfect accessory. FLARED HITS & PLATFORM SOUL is born from the era of bell-bottoms, platform shoes, and Studio 54. It easily ranks among the best disco compilations ever, packing hit after hit, 36 tracks, total. It's loaded with mass appeal and some rare finds.

Yes Sir, I Can Boogie

BACCARA

That's the Way (I Like It)

KC& THE SUNSHINE BAND

Play that Funky Music

WILD CHERRY

Le Freak

CHIC

Disco Inferno

THETRAMMPS

The Hustle

VAN MCCOY & THE SOUL CITY SYMPHONY

Best of My Love

EMOTIONS

Ain't Gonna Bump No More

JOETEX

Can't Get Enough of Your Love Babe

BARRY WHITE

Shame, Shame, Shame

SHIRLEY & COMPANY

Love Train

O'JAYS

We Got the Funk

POSITIVE FORCE

1 Will Survive

GLORIA GAYNOR

Contact

EDWIN STARR

Boogie Wonderland

EARTH WIND & FIRE

Backstabbers

O'JAYS

Lost in Music

SISTER SLEDGE

It's a Love Thing

THE WHISPERS

Oops Up Side Your Head

THE GAP BAND

Disco Stomp

HAMILTON BOHANNON

Young Hearts Run Free

CANDI STATON

Ring My Bell

ANITA WARD

You to Me Are Everything

THE REAL THING

I'm Doing Fine Now

NEW YORK CITY

When Will 1 See You Again

THREE DEGREES

Heaven Must Be Missing an Angel

TAVARES

This Is It

MELBA MOORE

Boogie Oogie Oogie

A TASTE OF HONEY

A Night to Remember

SHALAMAR

Rasputin

BONEY M

Hold Back the Night

THETRAMMPS

Get Dancin'

DISCO TEX & THE SEX-0-LETTES

Blame It on the Boogie

JACKSONS

Celebration

KOOL& THE GANG

And the Beat Goes On

THE WHISPERS

Go West

VILLAGE PEOPLE

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January 2005

Among the hits on the Top 40 or Top 100

Where the Wild Roses Grow

NICK CAVE &THE BAD SEEDS w/

Let It Rain

AMANDA MARSHALL

The Day We Caught the Train

OCEAN COLOUR SCENE

the top of the charts. This varied assortment

Don't Look Back in Anger

OASIS

of 36 pop hits draws from the 70s through

I Just Can't Stop Loving You

MICHAEL JACKSON

the '90s and features an abundance of

Killing Me Softly

FUGEES

charts is where superstars are crowned and

IIIMIIIII

strive to remain. In the two-CD compilation entitled ABSOLUTE GOLD, there's no shortage of superstars who have frequented

familiar favorites.

KYLIE MINOGUE

Never Never Love

SIMPLY RED

The Earth, The Sun, The Rain

COLOR ME BADD MARIAH CAREY

Heaven for Everyone

QUEEN

Open Arms

Because You Loved Me

CELINE DION

Anything

3T

Missing

EVERYTHING BUT THE GIRL

I Don't Wanna Fight

TINA TURNER

Breakfast at Tiffany's

DEEP BLUE SOMETHING

The Believer

MARIA GLEN

Drive

REM

I'll Never Break Your Heart

BACKSTREET BOYS

I'd Lie for You

MEATLOAF

You're the Star

ROD STEWART

Father and Son

CAT STEVENS

Secret Garden

BRUCE SPRINGTEEN

How Deep Is Your Love

TAKE THAT

Leningrad

BILLY JOEL

Where Do Broken Hearts Go

WHITNEY HOUSTON

Rocket Man

ELTON JOHN

Father Figure

GEORGE MICHAEL

Help Me

MIKE & THE MECHANICS

You Don't Understand Me

ROXETTE

Belfast Child

SIMPLE MINDS

Always Tomorrow

GLORIA ESTEFAN

A Love So Beautiful

MICHAEL BOLTON

Missing You

CHRIS DE BURGH

All I Wanna Do Is Make Love to You

HEART

Anywhere Is

ENYA

You And I

SCORPIONS

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January 2005

67

Like fine wine, in music, some years are better than others. One such year that arguably stands out in its impressive contributions to the dance club music scene is 1995. BEST DANCE ALBUM OF THE YEAR! ('95) is jammed with 40 super-successful dance tracks. Among these many exciting hits are several rare 7" mix versions.

She's Got that Vibe

R. KELLY

Dreamer (7" Mix)

LIVIN' JOY

U Sure Do (Strike's 7" Mix)

STRIKE

AxeiF

CLOCK

I Luv U Baby

THE ORIGINAL

Freedom

MICHELLE GAYLE

Boom Boom Boom

THE OUTHERE BROTHERS

Right in the Night (Fall in Love with the Music)

JAM & SPOON

The Morning After (Free att Last) (Strike's 7" Mix)

STRIKE

The Bomb! (These Sounds Fall into My Mind)

THE BUCKETHEADS

Destination Eschaton (Beatmasters 7")

THE SHAMEN

Your Loving Arms

BILLIE RAY MARTIN

Here Comes the Hotstepper

INI KAMOZE

Surrender Your Love

NIGHTCRAWLERS

Two Can Play that Game

BOBBY BROWN

Set You Free

N-TRANCE

Not Over Yet

GRACE

Try Me Out (Lee Marrow Airplay Mix)

Sweet Harmony

LIQUID

Poison (95 EQ)

THE PRODIGY

Freak 'N You

JODECI

Always Something There to Remind Me

TINTINOUTw/ESPIRITU

Raise Your Hands

REEL 2 REAL w/ THE MAD STUNTMAN

CORONA

Love City Groove (7" Mix)

LOVE CITY GROOVE

Whoomph! (There It Is) (Short Stab)

CLOCK

Total Eclipse of the Heart

NICKI FRENCH

I Wanna B with U

FUN FACTORY

Hold On

HAPPY CLAPPERS

Keep Warm (7" Edit)

JINNY

The Wonder of Love (7" Edit)

LOVELAND w/ RACHAEL McFARLANE

Sex on the Streets

PIZZAMAN

Get Your Hands Off My Man

JUNIOR VASQUEZ

Joanna

MRS. WOOD

Stuck on U

PJ & DUNCAN

Searching (Mykaell S. Riley Mix)

CHINA BLACK

Cotton Eye Joe

REDNEX

Tell Me When (7" Edit)

THE HUMAN LEAGUE

Reach Up (Papa's Got a Brand New Pig Bag)

PERFECTO ALLSTARZ

Run Away (Airplay Mix 1)

REAL McCOY

Open Your Heart

M PEOPLE

Stey Tuned...

For more information or availability on any of the CDs in this Music News

column visit www.HitMusicb2b.com orcallA.V.C. Sebastian at 973-731-5290.

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68

www.mobilebeat.com

January 2005

By Ryan Burger

O

around through a half-dozen DJ stores to find who sells it the cheapest? I prefer to ask the advice of people who know their stuff: either participants/ moderators on our chat boards or experts at several of the DJ stores that I have gotten to know over the last 10 years.

These are expert DJ equipment dealers who aren't just there to sell you what they are making the most money on. You need to view them as partners in your business—people you can trust to provide you with the tools you need to run your business.

I'm not saying the people ' from a company that offers the lowest price for a product or service don't know their stuff.

I'm just saying that you need to shop for more than the dollar amount.

ver the last four or five years, Mark Ferrell, Disc Jockey America and the Worth Movement have done some fantastic things for the DJ profession, including raising rates and increasing DJ respect. For the uninitiated, the Worth Move­ ment has taught that we DJs are worth more than we've been asking for. It has helped many disc jockeys present themselves as being much more than just people who press play every five minutes on a CD player.

YOU'VE REALIZED WHAT YOUR As the president of SERVICES ARE WORTH— ProDJ.Com and its news/chat portal, Start.ProDJ.com, I NOW TAKE A FRESH LOOK AT see daily postings about YOUR NON-DJ PARTNERS IN everything from wedding Will the Real Commodity techniques to equipment is­ ENTERTAINMENT Please Stand Up? sues. Often the conversation ••••••••••••••••••••••••••••••li Here in Iowa, corn is a big deal. turns to where to get certain It's a commodity—something that can be purchased purely on pieces of equipment or services at the best prices. To some people, price because it is so standardized that there is essentially no the best price means the best value—including things beyond the difference in quality. Some people think DJs are like that, but we dollar amount. But many others are just concerned with the exact are working to prove otherwise. In the wedding industry there price of an item or service. Yet, even the word "price" doesn't work are some things that are commodities....or are they? Tuxedos, here, because often the purchase price is only the start. What about maybe—but how about service? In Des Moines there are only other things like shipping charges? Or the cost to your business if it a few local companies that stock their tuxedos in town. Thus, doesn't show up on time or if it fails? if you have a problem you can go get a replacement. That's an Do you judge the price of the item solely on the dollar amount or are you looking at everything that goes into the product or service extra level of service. Limousines may be a little closer to a com­ modity, as you really just need a nice, clean car and a driver to as a whole? get you from point A to point B. Ah, but what about the profes­ sionalism of the chauffeur?

Worth Reaching Out My company, ProDJ.com, hosts Web sites for hundreds It all comes down to this: Do you treat the vendors and businesses upon hundreds of DJ services and other businesses. We that you work with like they have their own Worth Movement within charge a fair price for what we do, but there is always someone their industries? Are you paying them what they are worth?

I have noticed a change in myself during the last few years. I've cheaper. Just like you can find a DJ for a wedding reception for practically any price, you can find a Web host for almost any matured in my business and personal practices, in part, because of price. I've even seen Web hosting called a commodity by people the Worth Movement. I see myself tipping better, respecting other business people and employees, and not shopping around nearly as in the hosting business. Remember the corn —standardized and no difference in quality? Can you honestly say that you just much. need a standard Web site because your business is the same as For instance, think about that great new dual CD player that everyone else's? just hit the market. Are you going to call around, or even better, surf

www.mobilebeat.com

January 2005

69

Small Gestures, Big Impact Try extending your application of "worth" to include the vendors that you work with at all of your events. How often do you tip the bartender at your weddings? Even though I don't personally do the events nearly as often as I used to, when I am performing, I always make sure to carry plenty of dollar bills to tip the staff who often provides me an unlimited supply of soft drinks during the evening.

Little things like this will help DJs gain the respect throughout the events industry that we are always saying we deserve.

Respect is not something that we can de­ mand—it's something that we must earn!

Remember how it makes you feel when you get a tip at an event, or receive a letter from a bride saying that you were worth every penny and more. Remember it especially when you are shopping for the products or services you use in your busi­ ness.*

Uisit UslAtlmaKesRariiesTcomTaiid

Ryan Burger is the President ofProDJ.com Internet Services, the Web host/marketer for hundreds of disc jockey services across the continent. He resides physically in Des Moines, Iowa but virtually on the Internet at ProDJ.com.

WORTH MOVEMENT MOTIVATOR WEIGHS IN

in The ma MOBILE BEAT. All About BIG GIGS• What You Need in Your Audio Arsenal • Adding Large-Scale Inflatable Fun to Your Service • How to Shine as Part of a Multifaceted Event • One DJs Story—Coordinating an All-Day Extravaganza

Plus..._______________________ • Mobile Beat's GIGANTIC yearly TOP 200 Song List • MegaSeg: The Latest Pro DJ Software for Mac • Pioneer's DVJ-X1: Complete DVD Video Control ...and a lot more!

"We attract the clientele we're most like."

That's a quote from my Getting What You're Worth seminar series. While the emphasis of that seminar is how Mobile DJs can charge what they are worth, the underlying message is "giving what oth­ ers are worth." Ryan Burger, a business associate and friend of mine, skillfully communicates part of that philosophy here.

Over our long relationship, ProDJ. com and DiscJockeyAmerica.com (our respective DJ-oriented Web sites) have supported the efforts of each to better the Mobile DJ industry. Ryan has been a supporter of the Worth Movement and my work to establish our industry as a legiti­ mate profession with the respect, status, and income we deserve. His article is another step in that endeavor.

Mark K. Ferrell DiscJockeyAmerica.com

70

www.mobilebeat.com

January 2005

ADJA NEWSLETTER 2OO4 HIOHUOHT8:

AMERICAN Disc JOCKEY ASSOCIATION

»> FEBRUARY: ADJA NATIONAL MEETING HELD AT MOBILE BEAT CONVENTION IN LAS VEGAS. * MARCH-JUNE: ADJA PRESIDENT PETER MERRY GOES ON TOUR IN A MASSIVE NATIONWIDE MEMBERSHIP DRIVE. *> SEPTEMBER: NEW ADJA WEBSITE DEBUTS * OCTOBER: ADJA SUPPORTS MARK FERRELL'S WORTHTOUR IN GEORGIA, KENTUCKY AND ILLINOIS.

INSIDE THIS ISSUE

PA@E 2... ADJA PRESIDENT PETER MERRY ON "MUSIC vs. FILM." PASE 3... ADJA SECRETARY MAI

1~88&>723~B776 OFFICEGADJA. ORQ

ROCKSI WWW.ADJA.ORG: THE ADJA OFFICIALWEB-

FOR BRIDES, GROOMS AND EVENT

SITE WAS RELAUNCHED ON SEPTEMBER 8,

PLANNERS, THE ADJA "FIND A DJ"

20O4. THE GOAL WAS TO OFFER MORE

SEARCH SERVICE IS NOW MORE

FEATURES, FASTER SERVICE AND BETTER

APPEALING AND EVEN EASIER TO USE.

BENEFITS TO ADJA MEMBERS. YOUR NEW

WITH INPUT FROM YOU,

SITE PASSES THE TEST WITH FLYING COLORS!

WWW.ADJA.ORG WILL CONTINUE TO IMPROVE.

AS AN ADJA MEMBER, YOU CAN NOW! THE SITE WAS COMPLETELY REBUILT

RENEW YOUR MEMBERSHIP ONLINE USING YOUR CREDIT CARD. UPDATE YOUR MEMBERSHIP INFORMATION ANYTIME.

BY ADJA IT DIRECTOR BEN MILLER, ADJA VICE PRESIDENT DR. DRAX. AND MIRUS RESEARCH. MANY THANKS ALSO GO TO BOB RICCI OF WWW.ANYWHEREHOST.COM

GET MORE LEADS FROM THE ADJA SITE BY ADDING PHOTO'S AND

LOG ON AND UPDATE YOUR INFO

LOGO'S TO YOUR ONLINE LISTING.

TODAY! FOR HELP, CALL THE ADJA OFFICE AT 888-723-5776.

©S5AUMANN 8®

REFERRAL, SECRETS.

FA@E 4... ADJA

DIRECTOR MILLER ON www.APJA.oag

ADJA

American Disc Jockey Association

WAS REBORN,

REPRESENTING ALL OF NORTH AMERICA

PAID ADVERTISEMENT

PAGE 2 OF 4

, 4â&#x201E;˘ QUARTER 2OO4

"Music Vs. Film"

by Peter Merry

We have all looked through wedding magazines to see how brides are being informed (or misinformed) about our services. But have you ever seen an article telling brides how to hire film? You won't find such an article, because they're not informing brides about film, they're telling them about how to hire a photographer.

Yet, you can easily find a plethora of articles informing brides about how to hire music.

What's the difference?

Film is just a tool that photographers use to capture the memories of a wedding day. In the same way, music is just a tool we use to create the memorable moments the photographer will be trying to capture. So why do magazines promote hiring photo­ graphers instead of film while educating brides about hiring music instead of entertain­ ment? I can think of several reasons.

We promote it.

We allow it.

We sustain it.

How do we promote it? A large number of Mobile DJ's are still marketing and selling themselves primarily as music. But it is a safe bet that most of them also bring a microphone for announcements, regardless of how general or personalized those announcements may be.

A large majority of them probably also do some planning, whether they are just calling to find out in advance what the First Dance song will be, or whether they are actually creating a smoothflowing reception agenda script with their clients.

Most of them are helping to direct the flow of the reception, whether they are using the mic to ask everyone to find the Father of the Bride for the Father/Daughter Dance, or they are constantly communicating behind the scenes with VIPs and the other vendors. No matter how much or how little of these additional services you currently provide, these services are much more than just music; they are the necessary components for delivering entertainment.

How do we allow it? We allow it when we sit back and wait for someone else to fix this identity crisis for us without helping to bring about the necessary change.

Photographers are promoted as photographers, and not just film, because they are widely recognized as professionals with unique skills, talents and a range of personal styles.

Mobile DJ's should also be recognized as professionals with unique skills, talents and a range of personal styles. But until we are all working together in an organized manner to change this mis-perception, our chances for successfully effecting change will be limited.

PAID ADVERTISEMENT

If you are not already a member of the ADJA, join us and help make this change happen. If you are already an ADJA member, then get involved, help start a local chapter, or run for a position on the national board of directors.

How do we sustain it? By feeding the beast. If you pay to advertise in any wedding publication that tells brides we are just a commodity called music instead of promoting us as the uniquely personalized entertainment services we truly are, you should be asking yourself "Why?" By paying to advertise in a forum where your services are not being properly promoted or represented, you are giving them permission to do more of the same. Your advertising dollars have value and power. Brian Graham of Tennessee understood this when he used his advertising dollars to convince a local wedding publication to call the ADJA Office for accurate information about our industry. The result? An article focused on how to hire entertainment, not just music, and Brian got a much better value for his advertising dollars.

In conclusion, the ADJA is committed to changing the public's perceptions about our services, but we need your help to make this change happen. We look forward to your continued support.

ADJA NEWSLETTER, 4™ QUARTER 2OO4

ADJA SECRETARY SHARES REFERRAL SECRETS IN ADDITION TO HIS SERVICE TO THE ADJA AS SECRETARY, MATT GRAUMANN ALSO RUNS HIS OWN VERY SUCCESSFUL DJ BUSINESS, WHICH RELIES HEAVILY ON REFERRALS. MATT'S NETWORK OF BANQUET MANAGERS, PHOTO­ GRAPHERS AND OTHER VENDORS DIDN'T HAPPEN OVERNIGHT. IN FACT, MATT is CONSTANTLY WORKING HIS CONTACTS TO GENERATE MORE BUSINESS. WITH THIS KIND OF FOCUS, MATT OFTEN GETS HIRED EARLY ON IN THE EVENT "FOOD CHAIN."

WHERE DO MATT'S REFERRALS COME FROM? •

FORMER CLIENTS.

•

CATERERS AT HOTELS AND COUNTRY CLUBS.

•

WEDDING COORDINATORS.

•

PHOTOGRAPHERS.

•

OTHER DJs.

IN ADDITION, MATT HAS SAID "TARGET A LOCATION THAT FITS YOUR STYLE AND THE CLIENTELE YOU WANT TO ATTRACT." ANOTHER GEM FROM MATT: "WHEN YOU GET A GREAT TESTIMONIAL LETTER,SEND THE

CATERING MANAGER A COPY. DO THE SAME FOR COORDINATORS, PHOTOGRAPHERS, AND OTHER VENDORS WHO REFER YOU BUSINESS." MATT'S 5 SECRETS TO GETTING REFERRALS: 1 . GET "HOT" LEADS BY KEEPING IN TOUCH WITH YOUR CONTACTS. 2. CHECK OUT YOUR LOCAL N.A.C.E. OR I.S.E.S. GROUP.

3. IT'S NOT WHO YOU KNOW, IT'S WHO KNOWS YOU. 4. HANDWRITE THANK YOU NOTES TO VENDORS WHO REFER YOU. 5. THE BEST WAY TO GET REFERRALS IS TO GIVE REFERRALS.

AND, Now A MESSAGE FROM YOUR IT DIRECTOR...

THE ADJA WEBSITE HAS UNDERGONE AN INCREDIBLE TRANSFORMATION IN THE LAST NINE MONTHS! SINCE I TOOK OFFICE AS THE INFORMATION TECHNOLOGY NATIONAL DIRECTOR, I MADE IT MY NUMBER ONE GOAL TO PUT IN PLACE A WEBSITE THAT WILL GROW WITH US. I CONTACTED MlRUS

RESEARCH, IN BLOOMINGTON, IL.TO CREATE THE NEW DYNAMIC SITE THAT YOU SEE NOW. ON OUR NEW, COMPLETELY SECURE WEB SITE, YOU CAN IMMEDIATELY BECOME A MEMBER, UPDATE YOUR PROFILE TO HELP GET MORE LEADS, AND MUCH MORE! OUR NEW WEBSITE WILL ALERT YOU WHEN YOUR MEMBERSHIP IS SOON TO

EXPIRE, SO NO MORE LAPSED MEMBERSHIPS! COMING SOON TO THE NEW WEBSITE: WE'LL ALSO HAVE BULLETIN BOARDS WHERE OUR MEMBERS CAN SHARE IDEAS, AND TALK WITH OTHER MEMBERS THROUGHOUT THE COUNTRY!

AND IF YOU'RE NOT CURRENTLY A MEMBER OF THE ADJA, OUR NEW WEBSITE IS JUST ONE MORE REASON TO GET INVOLVED! BEN MILLER INFORMATION TECHNOLOGY NATIONAL DIRECTOR

MEMBERS WILL BE ABLE TO BUY A VARIETY OF ADJA PRODUCTS ONLINE, INCLUDING OUR FULL COLOR BROCHURES, PASSES TO A VARIETY OF CONVENTIONS, AND ADJA GEAR LIKE T-SHIRTS, BUTTONS, AND MORE! IF YOU HAVEN'T YET CHECKED OUT OUR NEW WEBSITE, DO IT TODAY! IT'S WWW.ADJA.ORG!

PAID ADVERTISEMENT

AMERICAN Disc JOCKEY ASSOCIATION

ADJA PHOTO GALLERY!

CONNECTICUT COMES TOGETHER

NEW JERSEY DJ's GET IT!

PITTSBURGH MEMBERSHIP DRIVE

ALL OVER NEW ENGLAND

fE'RE ON THE WEB! lEEUSAT. WWW.ADJA.ORG

ADJA BOARD OF DIRECTORS

GOT QUESTIONS? CALL YOUR NATIONAL OFFICE AT: 888-723-5776 OR E-MAIL: DIRECTORS®ADJA.ORG. PETER MERRY, PRESIDENT- CALIFORNIA DR. DRAX, VICE PRESIDENT - ARIZONA MATT GRAUMANN, SECRETARY- CALIFORNIA DAREN ANDERSON, TREASURER - WASHINGTON JIM CERONE, PUBLIC RELATIONS - INDIANA BEN MILLER, TECHNOLOGY- ILLINOIS BRYAN FOLEY, EDUCATION - FLORIDA KEMP HARSHMAN, ATTORNEY-VIRGINIA

PAID ADVERTISEMENT

Indicate how many tapes of each selection you are purchasing in the space provided.

BAR MITZVAHS 1. _ The Mitzvah Connection 2. _ A-B-Cs for the Bar Mitzvah DJ 3._Bar&BatMitzvahs

THE BASICS 4._DJ 101: Parti 5. _DJ 101: Part 2 6. _Ten Steps: Starting & Operating a Successful DJ Service 70. _ Raising the Standards

DANCE AND DANCES

27. _ Single Operator Forum 28. _ Single for Life: The One Person Operation 29. _ Single Operators: How to Survive Large Companies 30. _ Multi-systems: Options & Ideas 31. _ Working With the Competition 32. _ Beating Burnout 33. _ Organization 73. _ Hidden Secrets of Business (2 tapes for the price of 11) 74. _ The Biz: From Little Extras to Crisis Management 75. _ DJ Problems: What Would You Do? 76. _ Difficult Sales: Get the Edge

7._ School Dances MARKETING 8. _ Kids From 2 to 22: Parties, Dances, Special Events 34. _ McKay's Marketing Megamix 9. _ School Daze Dances 35. _ Buzzwords: Corporate Proposals 10. _ Dance For DJs: From A to Z 36. _ Newsletters, Printed Materials, Keeping in Touch 11. _ The Video Dance Party 37. _ Bookings Through Agencies & Party Planners 12. _ More Than the Macarena: Latin Music

53. _ Tech Tips & System Design 54. _ Tech Talk: Bi-amping, Tri-amping 55. _ Lighting & Special Effects For the 21 st Century 56. _ Lighting From A to Z 57. _ Robotic Lighting, Design, Dlchroic Colors 58. _ Soundcheck: Can You Hear the Difference?

81. _ Understanding Your Sound System, Part 2 82. _ Beyond the CD: The Future is Now 83. _ MP3 & New Technology 84. _ Hands-On Tech Workshop

KARAOKE 59. _ Karaoke Koncerns: Part 1 60. _ Karaoke Koncerns: Part 2 61. _ Karaoke: Alive & Growing 62. _ Target Marketing For Karaoke 85. __ Adding Karaoke as a Profit Center 86. _ Karaoke Promotions

INTERACTIVE GAMES

SPECIAL INTERESTS

13. _ Mobile Mixing: Yes You Can! 14. _ More Mobile Mixing 71._ Music Programming

40. _ It's More Than the Music: Magic & More 41. _ Beyond DJ: Props & More 78. _ Games: Not Just For Kids Anymore

WEDDINGS

LEGAL/TAX

63. _ Making Money With Trivia, Nostalgia & Reunions 64. _ The Over 40 DJ: In For the Long Haul 65. _ Women in the DJ Industry 66. _ The Mobile DJ & Music Promotion 67. _ Video: All Aspects 68. _ DJ Association Forum 69. _ Be All That You Can Be 87. _ Club DJs: Tips & Topics 88. _ Latin Music: The Market & The Mix 89. _ Country DJ Round-Up 90. _ Music Rights in the New Digital Age

PERFORMANCE

15. _ Finding the Bride 16. _ Wedding Performances: The Finishing Touch 17. _ Wedding Receptions: Control!

18. _ Wedding DJ Supersession 72. _ Weddings: The Right Stuff

BUSINESS OPERATIONS 19. _ Getting Your Price: Part 1 20. _ Getting Your Price: Part 2 21. _ Increasing Your Profits 22. _ Increasing Your Profits, Part II 23. _ Developing Your Entertainment Team 24. _ 99 Ideas for '99 25. _ Problem Solving Forum 26. _ How to Expand Your Mobile DJ Operation

42. _ Taxes & Bookkeeping for DJs 43. _ Legal Contracts, Contractors & the Competition 44. _ Legal & Business: BASIC 45. _ Legal & Business: ADVANCED 46. _ The 1099 Subcontractor 47. _ Payroll & Taxes 48. _ Legal Warfare: Boot Camp For DJs 79. _ From Copyrights to Contracts 80. _ Legal Nuts & Bolts

TECH 49. _ Tech Support: The Speaker FAQs 50. _ Understanding Your Sound System 51. _ Audio Troubleshooting 52. _ The WOW Factor: High-End Toys

PRICE PER TAPE:

1-5 6-20 21 - 40 over 41

$8 ea. $7 ea. $6 ea. $5ea.

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add($ 3s/h)tototal ( $ 5 s/h ) ($ 8 s/h) ($10 s/h)

x$_

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Please add S& H* NAME_

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CITY___ PHONE. CARD#_ CARDHOLDER'S NAME (please print)_ CARDHOLDER'S SIGNATURE___

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Please fill in the required information and mail this form, with payment, to: Mobile Beat Magazine PO Box 309 â&#x20AC;¢ E. Rochester, NY 14445-0309 or for credit card orders only, call (585) 385-9920 or fax this form: (585) 385-3637 or order online: www.mobilebeat.com Make checks or money orders payable to Mobile Beat Magazine PAYABLE IN US FUNDS ONLY

•v \«

Online • www.mobilebeat.com f Telephone • 585-385-9920 IM-F 9am-5Pm ETJ - Fax • 585-385-3637 :r

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Brought to you by Mobile Beat - The DJ Magazine For up-to-date show information check our weosite at:

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showcase GREAT RATES for dealers and DJs: ust $65 per column ch (call for specs)

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Be amongst this elite group of professionals and learn what it takes to demand such prices.

Agents get a free web listing in our Industry Links Page today!

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Join the American Disc Jockey Association: + Save Money! + Increase Profits! *• 4-color marketing included with membership. + Your Company Listing on the ADJA National Web Site!

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The ADJA member discounted Group Insurance Policy is the only DJ Equipment Policy with the same underwriter since 1997.

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January 2005

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January 2005

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January 2005

81

EXTRAORDINARY EVENTS

T

here are some gigs where you have to pull out all the stops to make the client happy: a pumped-up music mix, major audience interaction, dancing, games, etc. Then there are other events that call for the sublime, subdued approach where the DJ is in the background. Here is a story from a DJ who had to completely blend into the woodwork, so to speak...

I was called to fill in for another DJ, so the info I had on the event was a little vague.

It turned out to be a sort of memorial service—a somber occasion, not needing much DJing. In fact, you may wonder, as I did, why they even wanted a DJ there at all.

I just played nice background music while everyone chatted. There weren't even any announcements for the first three hours.

Then, the guy who booked me came walking up with an older lady (70-ish) and

her adult daughter (40-ish). They looked like they wanted to make an announcement so I gave them the mic. Still not sure exactly what direction the event was headed, I cued up "Celebration" as a generic, "let's get the party started" song for when they were finished.

As it turned out, this get-together was for a surviving bunch of World War II veterans who had served together. They had made a promise to get together as often as possible after the war, especially if any of them had died.

Well, this older lady's husband had passed on recently and the group was going to give her some kind of commemorative plaque. It was a reasonably tearful few minutes as she recalled her life with her husband and others paid tribute to his life and service in WW II. This went on for a number of minutes.

Of course I quickly un-cued "Celebration" and returned to our regularly scheduled program of nice background music. For the remaining hour, I didn't find any opportunity to launch into even the slightest of upbeat music. Those in attendance were content to just simply reminisce.

At the precise ending time, the host came up, said everything was wonderful and paid me. That was probably the only DJ event where I didn't say a single word.* -M.J.

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